Remixed: Entwined Histories and New Forms will feature works by Anthony Olubunmi Akinbola, Carla Edwards, Jeffrey Gibson, Tamara Gonzales, Sabrina Gschwandtner, Porfirio Gutiérrez, Basil Kincaid, Maia Ruth Lee, Candice Lin, Yassi Mazandi, Adia Millett, Wendy Red Star, Jeffrey Sincich, Shinique Smith, Michael C. Thorpe, and Ben Venom.
A Queer Arcana: Art, Magic, and Spirit brings together an intergenerational group of artists who explore how magic, spirituality, and esoteric knowledge have shaped queer art and culture in the twentieth and twenty-first centuries.
Drawing on the meaning of arcana—hidden and mystical knowledge—the exhibition considers how queer artists have turned to obscure spiritual practices as sources of connection and transformation. These artists engage magic as a way to envision worlds beyond repressive systems, reclaim sexuality as a sacred power, and build community.
The works on view reflect a wide range of spiritual traditions and practices, including Western occultism, witchcraft and goddess worship, Christian mysticism, New Age beliefs influenced by Eastern philosophies, and shamanic traditions rooted in Indigenous knowledge. Many artists explore and combine diverse traditions, constructing through their work idiosyncratic and intricate worlds.
As articulated by the queer Chicana poet and theorist Gloria Anzaldúa, “spirituality is a source of sustenance, a way of knowing, a path of survival.” A Queer Arcana highlights how magical and alternative spiritual practices have been ever-present within queer culture and LGBTQ+ struggles for liberation, even when their significance has been obscured from dominant historical accounts.
Tamara Gonzales, Untitled., 2016. Alpaca and wool, 34 x 26 1/4 x 23in. (86.4 x 66.7 x 58.4 cm). Gift of the Alex Katz Foundation, 2017.479.
In this article, Lantern Writer-in-Residence Dominic Bellido reviews the Painting with Sound installation that took place in All in One: Selections from the Alex Katz Foundation last December, with an introduction from Colby Professor José G. Martinez on his “Soundscape and Sonic Narratives” class.
For inspiration I chose Tamara Gonzales’ Untitled Alpaca wool tapestry. The piece was made in partnership between Gonzales and local weavers from Ayacucho and Pisac, Peru, where the artist often visited and worked. For this reason, I wanted to take the huayno music that my father grew up with in Ayacucho and suture it to the blue and red threads of the piece. Accompanying the sounds of women talking at sewing machines, I remixed the song “Flor de Retama” into a gospel-infused, hip-hop beat that showcases the act of passing down music through generations, surviving only through community and persistence.
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