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one looped year but the lake – Danspace Project
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one looped year but the lake

November 10, 2021

Mixed medium, exquisite corpse by Anaïs. Watercolor painting with large swaths of blues, purples, and yellows. Printed and written text appears throughout the painting collaged, as do a series of hands, musical notes, and a vaginal sweet potato.
Mixed medium exquisite corpse by Anaïs Maviel.

 


one looped year but the lake is a journal series at Danspace Project guest curated and edited by NYC-based writer and teacher, Asiya Wadud. In February 2021, Wadud invited 3 pairs of artists into a seven-months-long series of private exchanges through emails, letters, ephemera, and other forms of communication. Jesse Darling and devynn emory, Tarik Kiswanson and Asiya Wadud, and Angie Pittman and Anaïs Maviel were paired based on what Wadud regards as “threads and resonances in their work and the trace knowledge that they might like to know one another and would—perhaps—naturally run into each other during a non-pandemic year.” Wadud writes, “In the dual absence of chance encounters and touch, what other kinds of gatherings are possible? How else can we find our way to each other?”

Remnants of these artist exchanges can be found in this Journal Issue 13: Recuperation & Renewal. 


 

Angie Pittman & Anaïs Maviel

families of what

 

Handwritten Note. A notebook, open to a page of handwritten notes. The white page is grid-lined in red and a browning fig leaf rests on the bottom of the page. Written is the following letter: April 1, 2021 Perceive Receive Grief I before e. Continuing misspelling words as a way to be in correct anti-perfectionism But everything has its limits right? Anti by Rihanna I think is a good ode to answering expectation by subverting them But Black people subvert expectations with excellence. We can’t help it. We’re just so damn good. But don’t expect that or less or more. Families of what. Who am I mothering right now? Myself I am mothering myself and I don’t care if I am expected? To be mothering something else. Good grief let me be.

families of what is a correspondence between Angie Pittman & Anaïs Maviel that circles questions of grief, noise, Black being, and the body. How does grief find its way into the thin film between the “upper room” and “a little necessary distance”? Grief rests (resists?) in the background, matte then honed, succumbing to sound, to movement, to other matter. Grief becomes the emblem in the object it embodies. At one point, Anaïs writes, “Attaching a family picture of mallets I am still grieving greiving gris vie ng for.” This correspondence meets us alongside grief, near the knowledge that it folds, breaks, resists. Meanwhile, though, there is the culminating plea from Angie, “good grief— let me be.”  Maybe this urge radiates with us, always.

 


 

Tarik Kiswanson & Asiya Wadud

one looped year but the lake

 

Hands. Two hands appear on the page; one hand has a palm spread wide and in the other, the curled fingers are barely visible. Waves radiate across the page.

During March 2021, Tarik Kiswanson and Asiya Wadud began to slowly write a poem together, adding lines as the weeks passed, volleying the poem back and forth, watching it find its shape. The text becomes a piece written as a call and response, but also a piece written as a we. No longer does it matter who wrote which individual lines. What matters instead is how the language exists as a whole. 

 


 

Jesse Darling & devynn emory

Some days lately I touch a sense of peace

 

A screenshot of a text exchange. Text bubble from JD: Letter coming, but I've been thinking of you (and your injury). Blessed to be in a "better place" for a minute at least a place of hope. The response is a still image of people walking in coats passed a sigh that reads "I'm so happy we met."

During the particular confinement of this past year, I’ve thought about the resonances I find in two peoples’ bodies of work and the chance moments that sometimes bring those people together. I came to know devynn emory’s work in the context of their Kin & Care research residency at Danspace Project in 2019-2020. It was there that I first encountered their performance lecture, ‘mmm’ (movement meditation memorials), which I have returned to again and again this year as a way to sit with the loss of the felled 2020. Jesse Darling and I met sometime in May 2020 through the internet. What can a body do? and Who can a body be? are two emergent questions and between emory and Darling’s work, there is a chance to ask this question and then sit with the replies in a variety of ways.

Here are nine letters between Jesse and devynn that stretch across the weeks between mid-February and late April. I keep returning to how devynn and Jesse each time reach for the referent ‘to’/ ‘dear’/ ‘you’. There is a sense of the real reader, held and a sense that the correspondence will unfold as it needs to.

Jesse, devynn and I offer these letters to you as a chance to see a new encounter unfold. In their letters, I am reminded about what is possible to begin.

 

 

 

Asiya Wadud is the author of Crosslight for Youngbird, day pulls down the sky/ a filament in gold leaf (written with Okwui Okpokwasili), Syncope and No Knowledge Is Complete Until It Passes Through My Body. Her recent writing appears in e-flux journal, BOMB Magazine and elsewhere. She lives in Brooklyn, New York where she teaches poetry at Saint Ann’s School, Columbia University, and Pacific Northwest College of Art.

Tags: Anaïs Maviel, Angie Pittman, Asiya Wadud, devynn emory, Jesse Darling, Tarik Kiswanson
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  • Angie Pittman & Anaïs Maviel: families of what
St. Mark’s Church
131 East 10th St.
New York, NY 10003
Phone (212) 674-8112
info@danspaceproject.org
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