Isabelle Hayeur ‘Écume Etang,’ 2015
This edition of Sedimenta explores artistic practices and what it means to belong to both geologic and human times scales in the south and southwest desert border regions in North America. Using this region as idiom, we explore planetarity and ontology of site in an essay tracing Lucy Lippard’s chosen hometown Galesto, New Mexico through Gayatri Charkavorty Spivak with Amy Elias and Christian Moraru. Through “conceptual entities” like High Desert Test Sites and the Center for Land Use Interpretation, we explore what it means, and to what scale, we belong to the earth. Following this line, we feature the work of Québequois artist Isabelle Hayeur and talk with her about her underworldly practice in the southern- and northern-most United States.
What does it mean to work the earth, to labor on it? Using J.B. Jackson as our guide, we discuss what it means to experience the landscape, and with the help of a scathing Yelp-like review left by Jean Baudrillard about America, this essay traces the literary landscape that helped produce the politically and arbitrarily outlined clump of dirt we call the United States of America. In an interview with Phoenix-based activist, educator, and artist Angela Ellsworth, we discuss the role of walking and its creation (formerly production) of space previously lived in by American Indians, following the words of the Museum of Walking’s patron saint Rebecca Solnit and Richard Long. If colonialism has commandeered historically settled lands, we explore how walking can unsettle this landscape. What if we were to expand what we mean by The West at all? In a review of the exhibition Unsettled at the Nevada Museum of Art and its corresponding conference on art and environment, we expand on William Fox and JoAnne Northrup’s Expanded West.
In our first Dispatch to the Border, we explore how Pittsburgh fits into these broader dialogues on the southern and western boarders, asking, how far can we stretch these boundaries? Finally, we present in English for the first time from Mexico City an essay from Museo Experimental El Eco’s Revista the essay Hegelian Dancers by Ericka Flórez in collaboration with Juan Francisco Maldonaldo, an essay that proposes we replace the word object with territory.