Festivals: M:ST 9 Biennial | September 7 - October 7, 2018.
Not Peaceable and Quiet
The title of Not Peaceable and Quiet is taken from the 1855 California Vagrancy Act, a so called race-neutral piece of legislation that attempted to frame Mexican Americans (a relatively new identity in the mid-nineteenth century) as loiters and idlers, as not peaceable and quite persons. This research-based performance examines normalized associations between criminality and sound, with special attention given to notions of silencing as a form of social control and voicing as a form or social resistance. How does noise come to be defined? Under what conditions are certain definitions of noise mobilized to maintain authority over marginalized communities? As an investigation into the politics of sound, Not Peaceable and Quiet contests institutionalized epistemologies by placing academic scholarship on sound in proximity to experimental noise performance, redefining what kinds of auditory experiences are understood as acceptable and what kinds are understood as antagonistic, especially in the struggle over political, economic, and social equity.
Josh Rios is an educator, media artist, and cultural critic whose projects deal with the histories, archives, and futurities of Latinx subjectivity and US/Mexico relations as understood through the intersections of globalization, modernity, postmodernity, and neocoloniality. Rios’s projects highlight moments of intercultural contact, archival indeterminacy, and the anxiety produced by challenges to hegemonic notions of U.S. social identity. Recent performances, projects, and presentations have been featured at the Art Institute of Chicago (Chicago), Andrea Meislin Gallery (NYC), the Bemis Center for Contemporary Arts (Omaha), the Museum of Fine Arts (Boston), and the University of Houston (Houston). Recent writing includes the essay, ‘A Possible Future Return to the Past,’ published in Somatechnics through Edinburgh University Press. Upcoming projects include a performance for the symposium, Decoloniality: Aesthetics and Methodologies at Tufts University (Boston), and a performance and lecture at the School of Visual Arts (NYC).
Anthony Romero is an artist, writer, and organizer committed to documenting and supporting artists and communities of colour. His solo and collaborative works have been performed and executed nationally, most notably at Links Hall (CHI), The Judson Memorial Church (NYC), and Temple Contemporary (PHL), among others. Recent projects include the book-length essay The Social Practice That Is Race, written with Dan S. Wang and published by Wooden Leg Press and Buenos Dias, Chicago!, a two year performance project commissioned by the Museum of Contemporary Art Chicago and produced in collaboration with Mexico City based performance collective, Teatro Linea de Sombra. He is a co-founder of the Latinx Artists Retreat and is currently a Professor of the Practice at The School of the Museum of Fine Arts at Tufts University, where is a faculty fellow at The Jonathan M. Tisch College of Civic Life.