JOIRI MINAYA - ISSUE #2

FROM THE DWGS POSTCARD SERIES 

New York, US

 

My work deals with identity, otherness, self-consciousness and displacement.
I’ve made work parting from / inspired by women in my family, popular stories, historical investigations, periods of dislocation, psychology, myth, and symbols I grew up exposed to. I see many of my pieces as portraits. 

I’m intrigued by the way in which historical hierarchies affect current identities and social spaces. I’m particularly interested in the body as a conditioned recipient and performer of these ideas. 

Through a variety of media I question how my own experience objects or negotiates traditions and historical impositions. In my work I attempt to create several power positions, often contradictory but operating simultaneously; navigating binaries in search of in-between- ness. 

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Mi obra trata sobre la identidad, la alteridad, la autoconciencia y el desplazamiento.
He trabajado partiendo de la experiencia de mujeres de mi familia, cuentos populares, investigaciones históricas, períodos de dislocación, la psicología, el mito y símbolos a los que crecí expuesta. Veo muchas de mis piezas como retratos. 

Me intriga la forma en que las jerarquías históricas afectan las identidades y espacios sociales actuales. Estoy particularmente interesada en el cuerpo como receptor condicionado e intérprete de estas ideas. 

A través de una variedad de medios me pregunto cómo mi propia experiencia objeta a, o negocia con estas tradiciones e imposiciones históricas. En mi trabajo intento crear varias posiciones de poder, a menudo contradictorias, pero que operan de manera simultánea; 

navegando sistemas binarios en busca de nuevas combinaciones y alternativas. 

 

 

Joiri Minaya is a Dominican - American artist born in 1990. She graduated from the Escuela Nacional de Artes Visuales (ENAV) in Santo Domingo, D.R. in 2009, the Altos de Chavón School of Design in La Romana, D.R. in 2011 and Parsons the New School for Design in 2013. She attended the Skowhegan School of Painting and Sculpture in 2013. 

Exhibitions include a solo show at the Centro de la Imagen in Santo Domingo, and group shows at Rush Arts Gallery, MoCADA, Grace Exhibition Space, Trestle Gallery, Anna-Maria and Stephen Kellen Gallery and ARC Magazine’s New Media Exhibition at the Trinidad+Tobago Film Festival 13.

 

http://www.joiriminaya.com/
 

OPEN LETTER TO A TRANS-EXCLUSIONARY RADICAL FEMINIST -ISSUE #2

A POEM BY JUDE ORLANDO ENJOLRAS 
Birmingham, UK 



Oh, sisters – what are you doing Undoing
The shoulders
Of giant soldiers 
Past?
Last
I checked
We were all in this together, but you wrecked 
The dream that I had
I’m sad
It’s come
To this, but we’ve come
Too far to let you tear
Down the barricade we built, smear
The good name
Of our Revolution. For shame
What part of, United we stand
Do you not understand?
It’s not that hard
If our ranks are marred
By civil war
We will never win the war
Against patriarchy
So WTF is this TERF malarkey?
Who died and made you head 

Of PR? I’ve said
It before, I’ll say it again
You don’t speak for me when you call our sisters men 
Particularly when the men in your head
Are all better off dead
Enough of my trans sisters are dead and cold
And it was you who sold
Them out for a bite of establishment cookie
A rookie
Mistake, latching onto this rhetoric of sin
With a curtsy and a grin
You recycle words like sick, deluded, perverse
Try traverse
A mile in trans women’s shoes
See how you like the abuse
They get –
Familiar yet? 

I won’t let you lose our battles, you will never win in my name
A reign
Of oppression by any other name would smell 

As rank, so show some respect for those who fell I have had my fill
Of words that kill. 

 

Appeared in ISSUE #2 'Feminism is'

Follow Jude Orlando Enjolras on twitter - #amwriting #librarianlife poet boy. queer of faith. pronouns: pri/prin(s)/princeself#IAmNonBinary #TransIsBeautifuldisabled survivor #MedicatedAndMightywhite

judeorlandoenjolras.wordpress.com

HARNAAM KAUR - ISSUE #2

AN ILLUSTRATION BY LOUISE BYNG 

Birmingham, UK 
Birmingham, UK 

After following Harnaam Kaur’s story in the media I wanted to reflect my impression of her with a portrait - one exhibiting power, grace and femininity. She exuded radiance and love in the face of shallow questions from TV hosts about how she would find love as a heterosexual female with a beard as a result as a polycystic ovary. She wasn’t constructing her identity to be attractive to others and that must have scared the shit out of them. I admired that her faith was what had put an end to her shaving the facial hair away and that had helped give her peace in embracing who she was, which shone out of her like a beacon to women everywhere. 

The colour pink interests me in that until 1940 it was the colour associated with boys, at which point it seemingly fell out of fashion and switched over to fresh association with girls. “The generally accepted rule is pink for the boys, blue for the girls. The reason is that pink, being a more decided and stronger colour, is more suitable for the boy, while blue, which is more delicate and dainty, is prettier for the girl.” - June 1918 edition of the trade publication Earnshaw’s Infants’ Department. Similarly the original ancestor of the high heel is a fancy Persian riding boot worn by men designed to hold the rider’s foot in stirrups. For me these transitions and evolutions demonstrate that associations of gender are pretty arbitrary, and only feel fixed when they’ve been collectively constructed and agreed upon. 

Of course these ideas have to be understood as subject to change and shift; push and pull and break, and we are rewriting them all the time. Of course there is no reason women shouldn’t have facial hair, we’ve just developed a context where hair on the female form is generally perceived negatively which, frankly, sucks. We need to rewrite the story of the other as no longer a signal of the freakish or unsettling or amusing or disgusting, (like some kind of residual reaction to traditional bearded ladies at a carnival freak show) but rather allow our differences to help us question our own responses and unravel accepted norms to promote greater acceptance and confidence not just in others, but also within ourselves. 

 

Appeared in ISSUE #2 

Follow Louise Byng on twitter /More images than getty / hair like wholewheat spaghetti. Drawer; thinker; gin drinker; wannabe rapper. @ByngInc,@IllustratedBrum et al / louisebyng.co.uk