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The Democracy Machine

The Democracy Machine Storythe-democracy-machine-story

In 2021, we handed the keys of our flagship fellowship over to artists. The Democracy Machine is our radical experiment created to unlock artist-led invention in the areas of self-governance, technology, and democracy. The fellowship takes place against an ongoing transformation at Eyebeam and builds on Rapid Response for a Better Digital Future, a fast moving initiative created early in the pandemic so that artists could come together and explore the dark frontier of power that commodifies personal information at the expense of democracy and freedom. 

Phase Iphase-i

In the fall of 2021, we announced a radical experiment and three-year cycle of support for transdisciplinary art and activism: the handing over of our flagship residency to artists with the launch of The Democracy Machine. An inaugural cohort created a dynamic, evolving blueprint and strategy to unlock artist-led invention.

Phase I Artists

Phase II: Unlocking artist-led inventionphase-ii

In Phase 2, a dozen artists, writers, and activists—pathbreakers from nearly every continent in the world—again took over the reins of Eyebeam’s flagship fellowship to crack open new art and ideas, exploring the movement to decolonize technology, rights to privacy and surveillance, the demand for more space and equity in society and culture, and more.

The second cohort of our radical experiment and multi-year cycle of transdisciplinary art and activism created to unlock artist-led invention in the areas of self-governance, technology, and democracy were selected last year by the cycle’s inaugural cohort of Black, disabled, and Indigenous artists to participate in a lively eight-month fellowship. 

A diverse cohort—whose boundary-dissolving practices push the confines of their mediums and demand more space and equity in society and culture, from the bolstering Black art history in Columbia to the “possibility” of an anticolonial gaze and spanning a diversity of locations, such as Colombia, India, Nepal, and Peru and in U.S., Los Angeles, Nashville, New Orleans, New York City—were chosen by the inaugural 2021/2022 cohort. Each 2022/2023 artist received financial support, combined with profound professional development opportunities and the camaraderie and mutual support of a residency.

We must give artists a rich space to imagine and contemplate how humans should live in the future if we are to create a different and more humane relationship to technology,” said Roddy Schrock of Eyebeam. The new cohort hails from nearly every continent and have come together virtually to examine with us the relationship between humans, technology, and ethics and explore, as artists, social and cultural issues such as motherhood in the 21st century, sustainable technology, and healing and resistance within Black and Indigenous communities.”

Phase II Artists

A black person with tied-up loc hair dressed in a black high-necked shirt is standing in a room with a dark background with coats of arms of Latin American countries prints on it.
Astrid González Democracy Machine Fellow
A person with light brown skin and medium brown curly hair is in front of a white stucco wall. Smiling at the camera they are wearing a black top, blue jean jacket, gold-rimmed glasses, and an evil eye and Arabic nameplate necklace.
Zeina Baltagi Democracy Machine Fellow
A man with brown skin, medium length dreadlocks wearing gold glasses stands behind a blue shotgun home on his balcony wearing a light brown cardigan with a t-shirt reading "Katrina! Black Genocide" as he holds a blue enamel coffee cup looking at the camera directly with a small smile apparent.
Ryan Christopher Clarke Democracy Machine Fellow
An indigenous Yakthung person with long hair, silver earrings, traditional white scarf with blue and pink star patterns.
Subash Thebe Limbu Democracy Machine Fellow
VH Award Resident
Yogesh Maitreya Democracy Machine Fellow
Standing person with brown skin, short black hair, traditional Mapuche earring, blue, light blue and pink sweatshirt with zipper in the middle. In front of their is a part of a textile piece in light pink, dark pink, purple and black. The piece is on a table where the artist rests their hands.
Paula Baeza Pailamilla Democracy Machine Fellow
Elizabeth, a brown skinned person, wears her hair straight and appears blurred and distorted. In the background there is a plant.
Elizabeth Pérez Democracy Machine Fellow
Pictured is a light skin woman with long dark brown hair seated on a light wooden stool carrying her child, who is facing away from the camera. The woman wears a long-sleeve black blouse and blue sweatpants with three white stripes that go up and down the leg. They are seated in a lush green backyard.
Daniela Ortiz Democracy Machine Fellow
Headshot of Shawn Reilly, who has medium-length brunette hair dyed partially green, with white complexion and freckles. Shawn is wearing a silver hoop nose ring, a deep-v white button up, and black blazer. You can see the black cords of a bolo tie, and silver mushroom collar tips.
Shawn Reilly Democracy Machine Fellow
Photograph of Chinese-American man standing inside an artist-built structure next to a 3D printed sculpture on a wooden stick. The light of a red video projection with blue digital artifacts washing over the entire structure, figure, and sculpture. He has short curly hair, wearing a black long jacket and black button up shirt.
Peter Wu+ Democracy Machine Fellow
A dark skinned agender person with long black hair in twists is wearing a dark green shaggy coat, black top, mesh skirt while sitting on a bench surrounded by ombre blossom pink to white magnolia blossoms in prospect park, brooklyn.
cy x Democracy Machine Fellow
On the image is a femme presenting German-Iranian person with light skin and ear-length curly dark hair and dark eyes, with several piercings and wearing a golden, patterned jacket over a black shirt with a type print, as well as a golden chain necklace.
Nushin Yazdani Democracy Machine Fellow

Public Program: Meet The Democracy Machine Fellows   public-program

Eyebeam invited the public to join us for the culmination of the current cohort of The Democracy Machine. Taking place over a single week, this free and lively four part series of special, one-hour live streams were broadcasted on Open.Eyebeam, our digital studio. Each stream featured up to four artists discussing their socially concerned art practices within the context of the fellowship, and how they set the terms for a fellowship built on trust and support.

Day 1: Shawn Reilly, Yogesh Maitreya, & Astrid Gonzalez

Video transcript

10:23:17 education. Graduate with a Masters in Divinity after next week
10:23:20 I had to find my thesis I will
10:23:23 be working with program from
10:23:32 LGBT first trans navigation service in the country. The only
10:23:35 transgender health clinic in the US
10:23:41 Southeast. I primarily work outside of that with LGBT youth those that are incarcerated I
10:23:45 am a mapmaker, printmaker seems her and
10:23:51 a writer. I really love to bring our and activism together and
10:23:54 engage in ways. If you were to look in my studio. You can see
10:24:04 a few pieces I want to talk about these three pieces shortly as a way to point through
10:24:10 as a way to look through a Eye Beam. To the left, you can see this performance
10:24:14 piece I recently did gaze need
10:24:21 not apply. My great grandfather founded a chapter of
10:24:25 an organization called 80H ancient
10:24:28 order of the.[Name]. On Staten
10:24:43 Island. They run a St. Patrick’s Day parade. I had grown up Irish step
10:24:46 dancing and marching in this parade. It is the main cultural events of the island it is a big
10:24:50 day to celebrate Irish heritage. As I grew older this event become very frustrating as it
10:24:54 is the main event to celebrate heritage it is so tied to Catholic
10:24:57 identity in so
10:25:02 many ways. It is a British missionary that people lift up as an example of
10:25:07 their heritage and now the main day to celebrate Irish around
10:25:10 the world is centered
10:25:15 on this missionary what is worse the 80H continues to ban LGBT
10:25:18 people from the per raid based on
10:25:27 this Catholic exclusion even though every New York City parade allows
10:25:30 for LGBT people to walk even though there is gay marriage in Ireland even
10:25:33 our last prime minister was gay himself LGBT
10:25:45 people have been banned from walking in order to challenge this I took part in action that
10:25:49 March the parade route prior to the parade with LGBT folks and block the parade from starting for
10:25:53 a bit. I myself dressed in Saint Patrick’s drag. Rainbow cross and
10:26:01 rainbow stuff. So that was a performance piece and best center you can
10:26:04 see two images
10:26:11 of block aesthetic created in collaboration with two insiders to
10:26:14 initials RDT NDM. How to choose the subject from a fortress style words of multiple prints
10:26:18 this is from a series called sinners
10:26:31 and saints. Unable to participate in carving up locks because the
10:26:34 material bands within the prison. This is an example of insight outside collaboration I really try to build
10:26:38 into my practice. To the right you can see two snapshots from a digital
10:26:41 scene I recently created called “Jesus death continues today. A
10:26:44 Catholic us stations of the cross reflection
10:26:52 Journal. This scene offers a scaffolded approach to
10:26:55 interrogating readers believe in relation to the death
10:27:03 penalty. This can be used as a reflective tool but it is designed to hopefully inspire
10:27:07 action and Catholicism in which I was raised
10:27:10 has a strong tradition of anti-death penalty work. I decided to work from that space and
10:27:14 leverage that within the digital scene. I hope that these three
10:27:18 projects eliminate how my organizing and art
10:27:25 have overlapped. I share these artifacts, as a way to point
10:27:28 towards the overall endeavor that I hope
10:27:34 to take on with Eye Beam this summer I’m in the midst of developing what
10:27:37 I call the shakers and makers lab which will be a series of workshops
10:27:40 between activists and artists to aim to cross pollinate best practices and wisdom across these
10:27:47 two camps. Here we will be able to share how to make things like buttons and the ins and screen
10:27:51 prints
10:27:55 and block print sweet tasting drag art photography and
10:27:59 and more. We also learn about
10:28:05 escalation campaigns and bail funds and de-escalation with the
10:28:08 police, negotiation, power mapping restorative and transformative
10:28:12 justice and
10:28:16 so much more the project is my hope to address an issue I found with
10:28:21 the national organizing and beyond which artists and activists
10:28:28 often will collaborate but often in a superficial way or a way
10:28:32 that stops short from all the beautiful potential I think there
10:28:35 is an myth generative space. So, I’m hoping we can go so much further in
10:28:44 the studio and lab space will allow for serious cross-pollination that
10:28:47 can both elevate the work of both artists and activists in our city.
10:28:50 So, thank you all. I will pass it back to Adela .
>>ADELA LICONA: Sean thank
10:29:00 you so much in your presentation I hear the power of storytelling to
10:29:07 refuse harmful heritage I would
10:29:10 like to ask Yogesh
10:29:13 to introduce himself.

10:29:16 >>YOGESH MAITREYA: Hello everyone. It is
10:29:22 such a pleasure to be speaking in front of all of you.
10:29:28 Thank you Adela
10:29:33 and Shawn for the experience that
10:29:40 you had. My name is Trent am from
10:29:44 India. I belong to one of the communities from India disability
10:29:55 as a crime Constitution and in 1949 and the Constitution which
10:29:59 was
10:30:03 from 1951. It has been making a crime a
10:30:10 punishable crime in India has been practiced
10:30:17 every day. Disability has been a part of an essential part of the cost system. Which is
10:30:21 the social fabric
10:30:26 of India. The fight against the cause has
10:30:31 also been fought recently
10:30:34 in the US especially in the
10:30:41 wake of Seattle as
10:30:49 a discriminatory system has marked its presence also across the world.
10:30:52 I belong to one of the communities
10:30:56 in India. My
10:31:00 art involves with stories of
10:31:05 my people. How I can produce for the larger
10:31:11 audience. As many of you have an idea that India has
10:31:15 many languages.
10:31:26 Almost all Indians, at least no two languages. Indians and those who go to school or college as
10:31:30 they know at least three languages. India is a country where
10:31:37 one linguistic state hardly communicates with another
10:31:41 linguistic state. Because of the nature of the cost
10:31:50 system. Prevents people from communicating with a larger audience. Everybody lives
10:31:54 for their cost
10:31:58 . I as a publisher and a writer and
10:32:04 a translator. My purpose is to
10:32:10 make the stories of the oppressed people people from
10:32:13 the untouchable communities a label for the
10:32:23 larger audience. A story of my community
10:32:23 is not
10:32:30 returning my return which is returning something like
10:32:35 another language called.[Name] I work with the
10:32:40 translation is necessary for one
10:32:44 language to
10:32:54 another and another so the stories won’t buy much of the history of
10:32:57 the community is
10:33:03 not verifiable. In the third world countries know
10:33:06 much about a race as
10:33:12 a discourse. We know more about the black
10:33:19 rates. But my history is not verifiable to the launcher ward. Because of the
10:33:22 languages that we have. The languages
10:33:27 which are made
10:33:31 to sink into the dark list there is no translation
10:33:42 literally changes. I as a member of this community when I started growing
10:33:46 up. When I started reading the language which is
10:33:57 my third language I found that my history my existence all of the stories
10:34:02 of my community have been available and
10:34:08 this language. That is how I also started learning the language
10:34:11 called English. When we knew that
10:34:15 what colonizers
10:34:19 in terms
10:34:25 of writing geographies
10:34:28 and distorting modes of the local knowledge translation angiography
10:34:33 also the languages India
10:34:37 with my community things
10:34:42 happen differently. Because under the system we are prohibited as a
10:34:46 community we were
10:34:50 prohibited from writing from
10:34:56 reading, and if they attend to
10:35:01 read or write basically perceivable life of intellectual life.
10:35:04 There were punished names
10:35:10 and the systems for
10:35:13 an example if
10:35:17 someone was here there was
10:35:25 a punishment of – lead into the gears or
10:35:30 if we have sacred rights in the community. There
10:35:33 was a punishment called
10:35:36 cutting the chopping of the tongue. So, my
10:35:41 community
10:35:45 was basically the life of mine. It becomes
10:35:50 very much obvious as
10:35:54 the fact that the
10:35:57 thing from which you are
10:36:01 prevented from practicing once you start
10:36:06 researching your self one you start to journey on the part of your liberation. You
10:36:12 aggressively persisting persistently do that
10:36:21 thing. So, are emancipated Doctor.[Name] When he
10:36:24 laid the moment for social justice. He had drafted the Constitution for India Doctor.[Name]
10:36:32 Who is also more than a father of
10:36:37 modern India. Inspire us to lead
10:36:44 the actual life and that’s our life
10:36:48 into education. This has inspired me a lot.
10:36:53 I myself I
10:36:57 grew up in Dallas. I don’t want
10:37:01 to create binaries. Just to give you a
10:37:08 slight understanding places which are pushed into the corners.
10:37:11 Places which are
10:37:16 neglected. Places where all kinds of things happen. I grew up in
10:37:24 that post fear. It was because Doctor.[Name] Was an
10:37:28 inspiration. A lot among us started investing in
10:37:33 education. Because
10:37:39 the British it is a very interesting thing and the point of history to
10:37:46 be noted that we were prevented from reading
10:37:50 and writing. Also, doing a dignified
10:37:53 job.
>>ADELA LICONA: It is time.
>>YOGESH MAITREYA: Sorry. I will cut
10:38:03 out I am going to just basically I’m going to show you something.
10:38:11 The thing that I produce. These are some of the books that I
10:38:14 publish. This is the book on my poetry book. This is
10:38:17 the essay’s critical essays. This
10:38:21 against the
10:38:24 poetry. This is again the cross poetry. These are short
10:38:31 stories. This is again the book. This book is the history of my
10:38:34 community. This book
10:38:40 is poetry. This book is again
10:38:43 poetry. You can see there are so much
10:38:50 poetry. Basically this is me.
10:38:54 I practice on my art by
10:39:01 producing stories.
>>ADELA LICONA: Thank you.
10:39:08 Now, we will move towards our conversation with the goal of keeping
10:39:16 the themes of today’s presentations in mind. I would like to generate
10:39:19 conversation among artists and anyone else who would like to
10:39:23 participate. I just want to express my gratitude for being a part of this
10:39:27 radical experiment that Eye Beam has given us the opportunity
10:39:32 to share in as I do that I want to try to bring in these
10:39:37 presentations together. Yogesh the books while. The
10:39:40 poetry that you gave us a
10:39:44 little bit of insight into their especially at
10:39:48 the end. It was reminiscent for
10:39:52 me. I work
10:39:55 poet, linguist of
10:40:01 the.[Name] Nation. Has a poem called “Birth witness” and first witness she
10:40:08 speaks of confronting US
10:40:13 government officials. A border control. At the end of
10:40:16 my poem
10:40:20 she says nevermind. I must now go and account for
10:40:25 myself. In a way, this is what I heard in
10:40:30 your shared
10:40:35 tilings Shawn, Adela , Yogesh . Accounting of
10:40:39 yourself rooted in the domination
10:40:43 of colonialism, patriarchy
10:40:48 of white supremacy of certain refusals and in your RIC touching,
10:40:54 moving matter.
10:40:58 Pulmonologist. As ways of making ourselves
10:41:02 noble. To one another and to our community
10:41:06 members. Even in the face of on
10:41:10 verifiability. I love that language of the
10:41:15 unverifiable. Being made verifiable by our
10:41:19 stories. In a way it is a story of how
10:41:23 we know and the logical positioning how we
10:41:27 know ourselves. Taking account of
10:41:32 our schools and the places we come from. You have shown us the
10:41:35 power of storytelling to Richie is
10:41:41 harmful, violent, dominating narratives. You have reconciled in ways before
10:41:46 us. Colonized imaginations and the refusal of those
10:41:51 imaginations. They provoked us to consider are as the answer. Art
10:42:01 that is multispee part that is multilingual. Multispee sees with the
10:42:04 soil as our mentor. Oral
10:42:09 knowledge is as actual, factual histories and
10:42:12 no abilities. So, I wonder if anything I have
10:42:16 said there stirs anyone of
10:42:22 you to respond and in your responses if you can see ourselves and
10:42:25 one another’s art. Maybe I
10:42:28 will take a breath there and pause.
10:42:33 I think I have raised
10:42:36 the collective sharing’s and try to put them
10:42:41 in conversations. I would really like the artist how they see themselves? Maybe we’ll
10:42:51 start again with Astrid how you might see yourselves and Sean’s
10:42:55 presentation and then training then will move to Sean and then to
10:42:58 Yogesh .
>>ASTRID GONZALEZ: I am really happy to go back
10:44:29 to Sean’s work and Yogesh
10:44:35 ‘s work. I can see that they are interested in biographies
10:44:38 and experiences
10:44:46 in a territory we can once again make ourselves
10:44:52 able to communicate politicizing
10:44:59 this experiences. Evaluate being able to value how our bodies feel in this territory.
10:45:03 In these territories that have been set up by people
10:45:09 with power. And they have set us up to feel in a certain
10:45:12 way. To feel like the others.
10:45:18 I can see and Yogesh ‘s writing
10:45:21 and and Sean’s activism. I see
10:45:26 myself reflected
10:45:31 in this initiative to be the owners again of our narratives. Not
10:45:38 allowing others to make us or set us up in their narratives.
>>ADELA LICONA: Thank you. I hear and body knowledges, newly
10:45:52 embodied knowledge of and traditionally
10:45:56 embodied knowledges precolonial and futurist
10:46:01 as well. I say even a multidirectional
10:46:05 experience of being and desiring. Of
10:46:08 asserting, liberating
10:46:12 narratives. So, Sean will you please enter
10:46:15 the conversation and tell us how you
10:46:19 see yourself
10:46:23 in Astrid ‘s experiences as well as
10:46:29 Yogesh ‘s?
>>SHAWN REILLY: I will be sure. I have a lot of things
10:46:33 rambling around in my head. One of the things I love when Astrid said
10:46:40 I had is when I found other young people there were also thinking
10:46:46 about this. This issue for example
10:46:53 the parade where LGBT people have been banned. They have been banned for a really long time.
10:46:57 The LGBT center and folks have been trying to walk in this parade
10:47:00 for a really long time. It was a
10:47:04 coalition of course of some of our elders as well as the young
10:47:08 people. That is resulted in a newer push to get those
10:47:16 policies changed. I just thought kind of this through line of looking at elders for
10:47:20 wisdom
10:47:24 and knowledge. Maybe some of the energy to change those things.
10:47:32 These realities or socialized realities with a partnership with
10:47:35 young people.
10:47:39 Then with Yogesh ‘s work I was thinking a lot about how so much
10:47:44 of our work folks on the inside of presence in particular
10:47:47 on Tennessee’s
10:47:51 death row. How we often talk about the oppression of those
10:47:57 folks without thinking about
10:48:01 the oppressors. Without
10:48:04 thinking about without being
10:48:07 able to hear the voices of people on the
10:48:11 inside themselves. Often times programs will go into prisons and say let’s make this
10:48:15 thing are due this thing. You can write this
10:48:21 piece. I see a part of my work
10:48:26 as translating this from a prison context to an outside context
10:48:30 trying to build bridges between insiders
10:48:40 and outsiders. Metaphorically translating on different ways if you’ve never
10:48:44 been on Tennessee’s death row. If you have not been in a prison. Lot of contextualization
10:48:48 that needs to happen. I am seeing some of those same lines in Yogesh ‘s work as
10:48:56 well.
>>ADELA LICONA: Sean thank you so much. In a way of what you have
10:49:00 energy as there were elements of this in each presentation is a participatory athletic
10:49:04 that is part of a D colonized methodology.
10:49:07 At least according to Linda Smith
10:49:13 and.[Name] Whose methodology and oppressive
10:49:19 as these methods these D colonized methods will make us recognizable to
10:49:24 one another. So is how we are
10:49:27 related. It is the
10:49:34 same when Yogesh tells us about failed language. The new
10:49:37 languages that emerge will be the language of recognizability, verifiability to those
10:49:41 of us
10:49:44 who have been oppressed, silenced, and made unverifiable by
10:49:52 authorized powers. Before turning it
10:49:56 over to Yogesh you have all touched on biomimicry in some ways. You have
10:50:05 asked us to consider where our mentors are. They are rooted in the
10:50:08 earth. In
10:50:14 that dirt and in the generations yet to be paid when we
10:50:19 can see mentors who are is simply authority figures
10:50:25 prescribed by colonialism but rather as mentors who have been
10:50:31 considered untouchable, unknowable who have yet to breathe. So, thank
10:50:34 you for that wild provocation. Yogesh will you please tell us how you see yourself
10:50:39 in Astrid and in Sean’s
10:50:42 work.
10:50:46 would
10:50:51 like to thank Astrid and John for sharing the
10:50:57 very important being expressly shared about their lives and also their
10:51:03 intellectual
10:51:08 pursuits. While Astrid was present in her work and also in Sean
10:51:15 was talking
10:51:20 about their activism and Chris
10:51:26 for education. I am drawn to think that
10:51:38 the four we are born as humans. Then we start growing up like we are children. Then we go to
10:51:42 school. We gradually grow. Before coming political and conscious. About
10:51:46 our
10:51:55 history and becoming and for our roots. Before we realize there is
10:51:58 something wrong with the world around us. We need to take
10:52:05 a position to make changes into that. To alter the realities for
10:52:08 the group for the coming generation. Before that
10:52:11 we have experiences. You have experience
10:52:14 of
10:52:18 feeling suffocated. We have
10:52:21 the experience of feeling that we cannot
10:52:25 breathe anymore. There is something wrong around
10:52:31 us. I think experience is the
10:52:34 essential foundation for
10:52:40 all of us to generate that consciousness. I think based
10:52:45 on that when Astrid was talking
10:52:50 about her
10:52:53 experience, her quest for
10:53:00 following that question of who am I? And what am I am not particular circumstance
10:53:03 when John was talking about
10:53:07 the struggle of
10:53:10 community and also how
10:53:17 education can also to basically empower us in that fight. I
10:53:24 realized that there is a respect of many languages
10:53:29 we speak. The languages come to us by the
10:53:34 society. Come to us from school from families from institutions.
10:53:42 I think our people across the globe share the language. The
10:53:50 experience of they experience English they come to the realization
10:53:53 that something is wrong. We cannot take it anymore the way
10:54:00 it is we need to take a position so we can from our site
10:54:04 *attempting to change
10:54:07 for the better that is the thing I have and
10:54:17 I feel when Astrid and Shawn were sharing basically part of their
10:54:20 life as a hardest as a human being. I think this is
10:54:23 where I also feel
10:54:27 connected. We are coming from different
10:54:30 realities,
10:54:33 geographies and different situations. Here if
10:54:39 we can this there is something a take away for me
10:54:43 from today’s English
10:54:48 that is something it is something very much unique
10:54:57 to the solution.
10:55:03 love that.
>>YOGESH MAITREYA: This is my take
10:55:07 away. So,
10:55:10 I learned this is what
10:55:19 I am.
>>ADELA LICONA: Love that is a tool of education a way of
10:55:22 bringing new knowledge
10:55:25 us to the historical register but also to ways of knowing
10:55:29 one another. Being able to use
10:55:37 our arts as a conduit to shared understanding. To the collected
10:55:40 liberation is so much of our our is
10:55:47 pointing towards. It can be a question
10:55:53 in today’s presentation that does not need to be answered today can sound
10:55:56 the table.
10:56:00 Every question
10:56:06 and maybe hold
10:56:14 or a comment one question only, and you should feel free to use the chat or to speak it
10:56:18 out loud.
>>SHAWN REILLY: One question I have just rambling in the back
10:56:37 of my mind what would it look like to dream about
10:56:40 not only decolonization
10:56:45 but re-indigenous nation how do we dream about these
10:56:50 things away from the structure in so many ways that is impossible
10:56:56 given our reality I dream of a space in which
10:57:00 we can dream of a place that is
10:57:03 not even defined into
10:57:08 cold holiday.
>>ADELA LICONA: What a beautiful provocation to leave us with.
10:57:11 In a way you have sketch the anticolonial. How
10:57:15 do we speak outside of that, yes?
10:57:21 Beautiful. In the last three minutes I would like to leave the very last minute for a
10:57:25 collective breath. Any other
10:57:28 questions or comments to leave on today’s shared
10:57:53 table?
>>ASTRID GONZALEZ: I was watching a movie by
10:59:44 a character. They were talking about
10:59:47 the African futuristic themes. I
10:59:51 realize that we
10:59:59 take too much. We take too much time thinking about how
11:00:03 other people think of us or the image they have of us. Europe does not
11:00:07 think about that. They just are.
11:00:26 R

A free online conversation with educator, designer, and cultural organizer Shawn Reilly; poet, translator, essayist, and publisher Yogesh Maitreya; and multidisciplinary artist Astrid González; moderated by Dr. Adela C. Licona on the new Open Eyebeam platform. The artists and moderator discussed storytelling activism, language as an identity tool, the impact of colonial systems, care as decolonial practice, and examining history as a tool of domination.

Themes: Storytelling, Language, Decolonization, Rethinking History, Care
Moderator: Adela Licona
Artists: Shawn Reilly, Yogesh Maitreya, Astrid González

Day 2: Cy X, Nushin Yazdani, & Peter Wu+

How does the future of technology, solidarity action, decolonial practices, care, and history-making intersect? Join the free online conversation with queer agender love influencer, earth tender, and cyber witch cy x; transformation designer, artist, and AI design researcher Nushin Yazdani; LA-based technology artist Peter Wu+; moderated by Tamizh American craftsperson and writer Sruti Suryanarayanan.

Themes: Future Tech, Solidarity, Decolonization, Rethinking History, Care
Live caption backup stream: Streamtext
Moderator: Sruti Suryanarayanan
Artists: Cy X, Nushin Yazdani, Peter Wu+

Day 3: Paula Baeza Pailamilla, Subash Thebe Limbu, & Ryan Christopher Clarke

Online conversation with Mapuche artist and a member of the Mapuche collective Rangiñtulewfü and Yene Revista, Paula Baeza Pailamilla; Yakthung (Limbu) artist from eastern Nepal “quantumly” based in Newa Nation (Kathmandu) and London, Subash Thebe Limbu; tonal geologist from the Northern Gulf Coast who “notices the passage of time” as both a trained sedimentologist and artist-researcher Ryan Christopher Clarke discussing storytelling, language, decolonization, rethinking history with moderator and interdisciplinary artist Xin Xin.

Themes: Storytelling, Language, Decolonization, Rethinking History
Moderator: Xin Xin, Eyebeam Rapid Response 2020 Alum
Artists: Paula Baeza Pailamilla, Subash Thebe LimbuRyan Christopher Clarke

Day 4: Zeina Baltagi, Elizabeth Pérez, & Daniela Ortiz

Dive into the worlds of educator and organizer Zeina Baltagi; mother, multidisciplinary designer, and educator, Elizabeth Pérez; artist and mother, working in ceramics, collage, and children’s books, Daniela Ortiz, as they speak with Eyebeam’s Manager of Programs and inclusion, Kemi Ukadike around storytelling, language, decolonization, rethinking history, modes of care, and motherhood.

Themes: Storytelling, Language, Decolonization, Rethinking History, Care, Motherhood
Moderator: Kemi Ukadike
Artists: Zeina Baltagi, Elizabeth Pérez, Daniela Ortiz


Through advocacy, membership, and donations, Eyebeam maintains programming and brings ideas into actionable projects. We gratefully acknowledge the leadership and support of The Andrew Mellon Foundation, Ford Foundation, Henry Luce Foundation, Jerome Foundation, Craig Newmark Philanthropic Fund, Atlantic Foundation, and New York City Department of Cultural Affairs.

Eyebeam models a new approach to artist-led creation for the public good; we are a non-profit that provides significant professional support and money to exceptional artists for the realization of important ideas that wouldn’t exist otherwise. Nobody else is doing this.

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