#Diwe Augustin-Glave

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The images above are from Brianna Lynn Hernandez’s exhibition Anticipatory|Después, one of three currently on view at Spaces gallery in Cleveland. Her moving video and sculptural installations focus on themes of end-of-life-care, grief, and mourning.

From the gallery about the work-

Anticipatory|Después visualizes the anticipatory grief of caregiving and the process of dying through performative videos and photography. Each piece shares the physical and emotional state of the dying, the caregiver, and at times the two concurrently. Ranging from fast and aggressive dance-like movement to slow and meditative contemplation, the enacted scenes capture a range of emotions and thought processes of understanding and untangling the intertwined traumas of caregiving and acute grief.

As her mother’s caregiver in the final year of her life, Hernández translated her personal experience of grief into her studio practice in order to combat the isolation and shame many grievers face in our death-avoidant culture. Through several series including Anticipatory | Después, the works aim to normalize honest conversations of grief and act as an entry point into education on end-of-life planning. Hernandez states that while we will all eventually experience the pains of loss, preparing for the logistics of death and nurturing supportive communities for grievers can provide comfort and lessen the unnecessary stressors attached to loss.

A Botanical Conversation, Mehdi-Georges Lahlou’s exhibition, explores environmental, identity, and cultural issues using the natural world as a backdrop. The two large murals are of an enlarged palm tree cell as seen through a microscope.

The exhibition statement by curator Conor Moynihan-

The palm tree is a central component of Mehdi-Georges Lahlou’s practice, a motif he has explored to highlight themes of exoticism, migration, and cultural heritage. Recently, Mehdi- Georges Lahlou has used the palm tree to explore themes of colonization, climate change, and history. While members of the Arecaceae family- palm trees- can be found in many parts of the world, they are not found here in Ohio. Unless, of course, you go to the Cleveland Botanical Garden as Mehdi-Georges Lahlou did for his residency at Spaces.

For A Botanical Conversation, Mehdi-Georges Lahlou has created four new video works using the Cleveland Botanical Garden as the setting and backdrop. While many of the plants visible in these works come from elsewhere across the world, his collaborators Diwe Augustin-Glave, CHIMI x Nature, and Dr Lady J are based in Cleveland. In many ways, this body of work imagines the conversations that might happen if the flora in the Cleveland Botanical Garden could speak, sing, chant, and educate, and then transports this dialogue in the gallery space.

Microscopy, the mural that extends over two walls in the gallery, serves a double function. Based on the cell of a dead palm tree, it enlarges from an unusual perspective a motif central to the exhibition. And it also serves as a container and a frame for the four videos. This conversation emerges within the boundaries of the palm tree cell, transporting this exhibition into the botanical garden.

Characteristic of his practice, Mehdi-Georges Lahlou draws our attention to how plants and botanical gardens become ways to highlight histories of colonization, compulsory heterosexuality, and climate disaster all contained under canopies of glass. Yet, especially through the performances of Diwe Augustin-Glave, CHIMI x Nature, and Dr Lady J, they also celebrate new queer ecologies and configurations, melding African and African American musical traditions, queer theory and scholarship, ecological history, and environmental justice towards new ends.

A Botanical Conversation is a cacophony. It asks us to listen carefully to hear all the voices that make up this chorus.

Aaron D. Williams has created a video installation, ESCAPING AAWFUL LAND, that continues the work created for his previous Aawful Friends exhibition. This new creation addresses the issue of anxiety and the power of collaboration as a way to combat it.

From the gallery-

ESCAPING AAWFUL LAND is an immersive exhibition that builds upon the success of Aaron D. William’s previous Aawful Friends showcase at Zygote Press. This new showcase explores the creative journey between Williams and collaborating artists. By delving into anxiety through art, we seek to acknowledge its profound impact on our collective well-being. We must address anxiety as a shared concern and foster a future community that supports and uplifts one another. Through individual and collective artistic expression, we can overcome the gravity of the situation and find healing and unity. In our fast-paced society, anxiety affects people from all walks of life, taking various forms and manifesting in relentless thoughts, paralyzing fear, and an overwhelming sense of unease. Despite its grip, we encourage you to embrace your inner courage and take the leap. The installation will be held at The Vault in SPACES gallery, where you will be transported to AAWFUL LAND – a hidden realm within our city accessible only to those who know it exists. Guided by the mysterious GUARDIAN, you will journey through its enigmatic mysteries. As you step into AAWFUL LAND, you will be captivated by a mesmerizing video presentation. Witness AAWFUL AARON engaged in a gripping game against a formidable opponent, reminding us that we have the inner strength to persevere and pursue our dreams even amidst anxiety. In Aawful Land, anxiety takes on tangible forms and bursts forth in vibrant colors. CREATURE is at the heart of our narrative, an overbearing shadowy figure personifying anxiety and serving as the central antagonist. Aawful Aaron is locked in a fierce battle against CREATURE, desperately seeking escape from this hidden world. However, a subtle hint suggests that Aaron may need assistance to overcome his challenges. Within Aawful Land, a group of trapped artists may hold the key to their collective liberation. Together, they offer a glimmer of hope, representing collaboration’s power in overcoming Aawful Land’s perils. This work serves as a proof-of-concept or work-in-progress, paving the way for Aawful Friends II. In the forthcoming installation, we will feature this newfound group of artists, showcasing their collective efforts and unveiling the transformative power of collaboration. Their shared experience demonstrates that collective creativity and expression can lead to freedom and transcendence. ANXIETY IS HARD – TAKE YOUR SHOT ANYWAY.

All three of these exhibitions close 3/1/24.

[karingudino]

How Changing Fashion Trends Affect Our Self-Worth – The Oberlin Review

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Ashley Tisdale on the premiere of The Incredibles in 2004.

School first-year Elizabeth Aduwo. (Courtesy of Elizabeth Aduwo)

When Ashley Tisdale posted an image of considered one of her 2004 Disney Channel pink carpet appears to be like to Instagram a few years later, she condemned the outfit as “cringe-worthy.” Nonetheless, Tisdale’s submit supplied a vital alternative to analyze developments that transfer the dial of what physique varieties and aesthetics we deem acceptable — as a result of making an attempt to attain the requirements of the cultural second can manipulate our self-worth.

Tisdale’s orange and pink faux-military ensemble is typical of the Y2K type of the early 2000s, which — whereas sometimes mocked during the last decade — is presently experiencing one thing of a renaissance amongst immediately’s youth. Because of platforms like Instagram and TikTok, in addition to style re-selling apps corresponding to DePop — previously disgraced hallmarks of the period corresponding to layered tops, physique glitter, and low-rise denims are biking again into style. 

School third-year Diwe Augustin-Glave. (Courtesy of Diwe Augustin-Glave)

The ever-changing nature of the style trade — and the way it invades and degrades our sense of self — isn’t any secret. The forwards and backwards between minimalist and maximalist style has been occurring because the fin de siècle. As Y2K style comes again into type, many who grew up with that look and subsequent developments see a chance to interrogate the style’s authentic context. School third-year Diwe Augustin-Glave grew up within the minimalist motion of the 2010s and the up to date revival of early-2000s Y2K style. 

“As mainstream tradition begins to borrow from that period increasingly more, I feel now we have to consider what kind of individuals we’re uplifting and who we’re letting gown that approach,” Augustin-Glave mentioned. “A whole lot of occasions, society will bash sure physique varieties [that] are participating in sure developments.”

The style trade strikes in cycles, with every new motion responding to the final. Oftentimes, as a brand new development comes into vogue, much less and fewer area is carved out for every physique kind, leaving massive swathes of individuals out of the runway image.

“When you have a muffin prime or simply abdomen fats, it’s very totally different than if you’re simply skinny and carrying low rise denims or a crop prime or one thing like that,” Augustin-Glave mentioned. “I feel that it’s a number of enjoyable and I get pleasure from it. And I even have a muffin prime and fats and I get pleasure from doing these issues ’trigger I don’t care as a lot, however I feel that it’s necessary that we let everyone benefit from the aesthetic — all physique varieties.”

School first-year Graciela Fernandez. (Courtesy of Graciela Fernandez)

Prior to now 10 years, we’ve additionally seen a big lower within the separation between the style selections made by and marketed to tween and teenage women in distinction with these for grownup ladies — offering fodder to look at our present type developments, too.

“I really feel like we don’t acknowledge the truth that we reside in a patriarchal society, however we’re additionally in a really pedophilic society,” School first-year Graciela Fernandez mentioned. “And I don’t know if we will really reclaim … our our bodies if we’re nonetheless virtually encouraging this pedophilic customary as a result of then it’s not our our bodies. We’re nonetheless performing for different individuals.” 

Social media places vital stress on younger women to decorate and act older than their age — one thing that was not as prevalent in earlier generations. The closing of tween style shops like Justice demonstrates simply how extreme this transition has been, as tweens lose curiosity in possession over their very own classes of style. 

One of many main contributors to the stress on younger women is “glow-up tradition.” What initially began as a motion to emphasise psychological, bodily, and emotional development shortly was a chance for individuals to rag on their teenage and pre-teen selves. The toxicity of this motion was felt the toughest by younger individuals on social media who noticed themselves within the detested “earlier than” pics.

“Rising up, I all the time thought Y2K style was very cool,” School third-year Imani Badillo mentioned. “However I didn’t really feel like I may gown that approach as a result of I used to be chubby. … I really feel like social media isolates individuals. Everybody’s solely seeing probably the most photogenic elements of individuals’s lives.”

Vogue adjustments quickly, and there’ll all the time be criticism after we take a look at the type of earlier generations. Nonetheless, it’s necessary to do not forget that types change and we alter with them. So possibly subsequent time we glance again at our youthful selves and their closets, we’ll achieve this with a kinder eye.

And only for the file, you weren’t ugly in center faculty.

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