This essay is a reflection on, as well as the completion of, an artistic and critical writing process with a curatorial outlook. Altogether, the artist’s work and the critic’s essay question the very space of social affliction as a place from which to position oneself or as a location from which to look for spaces to push back against— whether the space of the Caribbean, the sociospatial experience of blackness, or the spatial sense of the feminine self.
A query into Marlon Griffith’ use of projected images as proto-cinematic devices in some of his trademark processional performances ponders whether the ensuing effect functions as the necessary disembodiment of a practice that is no longer localized. In not to many words, it simply asks: How to be a masman from Japan?
A virtual exhibition in SFMOMA’s online magazine for the reopening of the museum outlines a theory of and curatorial methodology for processional performance, hints at the return of the body-in-motion from screen to stage to street, and elicits why the millenary display mode of the processional matters anew today—inside and outside the museum.


Guest editor Amy J. Elias asked a group of artists and scholars in different arts fields to consider what the “networked commons” means for art and artists today – when “networked” is defined not only in terms of technological connections but also in terms of affective and social relations.

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