Queering Surrender: Expanding, Embodying, Remembering

🫀

Queering Surrender: Expanding, Embodying, Remembering 🫀

Selected by community vote for NAVEL’s ASSEMBLIES Fall 2020 session, “Queering Surrender: Expanding, Embodying, Remembering” was born as a practice / sanctuary / gathering for queer, trans, and non-binary BIPOC to reconnect with the agency, pleasure, possibility, and bigness of our bodies.

To surrender is to give up, to give in, to allow. Queerness is a tender, passionate refusal — of straight time, linearity, binary, categorization. How do capitalism, colonialism, and cisheteronormativity inform the ways we live in, perceive, or erase our bodies?

At its core, this collective sanctuary challenged both the facilitators and the participants to reimagine what intimacy can feel like in a digital structure and format — allowing us to feel the texture of new questions, the serene embrace of a stranger through a pixelated screen, the euphoria of being both witness to and “with-ness” to bodies most often pushed to or disregarded to the margin.

Here, we allowed the newness of deconstruction to make friends with the familiar comfort of closeness, and listened to the chorus of wonder and grief and joy that emanated from that queer alchemy.

NAVEL is a non-profit cultural organization and multipurpose “test site for kinship” that empowers artists, organizers, and creative practitioners to cooperate and build in holistic, pleasurable, horizontal, and emergent ways. ASSEMBLIES is NAVEL’s platform for experimental & collaborative research, discussion, and creation to support community-led, socially-engaged and multidisciplinary learning groups for three-month sessions.

Queer Love is Spacious

🫂

Queer Love is Spacious 🫂

How can a queer & non-binary lens or “framework”help us to better access other parts of ourselves with a greater sense of love & imagination?

"Queer Love is Spacious” was a recurring writing, thinking, and feeling workshop on Zoom focused on the ways QTBIPOC love can be rooted in & guided by a belief in spaciousness, the ceaseless ebb & flow of our own expansion, and how queerness & transness can offer a “horizon imbued with potentiality” for us all.

Drawing from the work of writer Rebecca Solnit’s Hope in the Dark, Maggie Nelson’s The Argonauts, Buddhist philosopher Pema Chödrön’s When Things Fall Apart, T. Fleischmann’s Time Is the Thing a Body Moves Through and the ordained Zen priest angel Kyodo Williams, this self-authored workshop was first hosted by The Sunday Jump, a historic Filipinx open mic and performance space in Los Angeles and then by the Asian American Justice & Innovation Lab’s People’s School for Justice.

At its most spacious, this workshop offering reached 500+ people.

Grand Country | 蕫國華

🪞

Grand Country | 蕫國華 🪞

“Grand Country | 蕫國華” examines the usage of the Chinese pronouns for “he” and “she,” which sound exactly the same when devoid of context; the slipperiness of gender as a non-binary person of the Chinese diaspora; and my grandmother, who was born with a name “typically reserved for a boy.”

It was originally performed as part of “Asian America: The Future is Now,” a two-night sold out show presented at Highways Performance Space in Los Angeles, California during Asian Pacific American Heritage Month, featuring dance, movement, meditation, poetry, spiritual tools, and a healing gastronomic experience by a collective of entirely Asian American/Pacific Islander artists.

This interactive art show wove the songs of our mothers and motherlands, sung the stories of migration that live in our bodies, and sought to inspire us as a collective to stand in our ancestral power and honor the future that lives inside each of us. “Grand Country | 蕫國華” also incorporated footage taken of my grandmother writing & describing gendered pronouns in English and Mandarin, splicing together a sense of curiosity through a sonic & visual landscape that allowed the audience to time travel through the words as portals/windows to feel a sense of closeness with both the past and the future.

This poem was later performed for Netflix for an internal Pride event featuring fellow performers Alyssa Edwards, Alok Vaid-Menon, and other LGBTQIA+ artists.

It Takes A Wet Season

💧

It Takes A Wet Season 💧

This confessional piece situated in an open public setting created an opportunity to play with the texture of a poem and how a viewer experiences their own attention. The piece, which was written as a sort of love letter to one’s scarcity mindset, is meant to be a translucent mirror, a gentle and yet utterly unavoidable portal to self-understanding. Poems in their flat, written, and often two-dimensional context can soften a sense of confrontation or forced attention.

Here, “It Takes A Wet Season” demands yours — a lesson I hoped to communicate both to myself and the viewer through the words & their materialized architecture and form.

“It Takes A Wet Season” is a visual poem on an 8-foot-long piece of plexiglass that was created for Studio Love A Lot’s inaugural group art show titled “no white cubes” in Brooklyn, New York. The show prioritizes accessibility to art, community gathering, and seeks to provide alternatives to institutionalized forms of art production and representation, especially for QTBIPOC. This piece was later sold, with all of the funds going towards The Bail Project and G.L.I.T.S., a Black trans-led organization supporting queer & trans people of color with housing & material resources.

Ipseity

🔗

Ipseity 🔗

Fellow Libra and new media artist Enrique Agudo created “Ipseity,” an exhibit exploring 8 queer deities, each representing allegoric scenes about the human self and our relationship to technology. I was commissioned to write and recite a collection of poems for the exhibit and for the accompanying yet-to-be-released short film, titled “The Nomad.” More about the film below:

“The Nomad” is a short film animation of artist Enrique Agudo in collaboration with Miwa Espinoza and Michelle Recio. The Nomad is a vessel traveling across the American landscape that houses a matriarchal clan, with the purpose of rewilding and biodiversifying its surroundings. This chariot is more than a home, and a tool, and a form of transport - it portrays the notion that we are guests in a land that cannot be owned. In our world, plants shape human existence and The Nomad reveals a whimsical technological mediation between us and our vegetal environment. Human relationships to Nature are molded by a culture whose definition of “Nature” is biased around homophobia, classicism, sexism, racism and xenophobia to justify its exploitation. Thus, The Nomad presents a speculative illustration of the potential for Queer environmentalism.

Creative Director ENRIQUE AGUDO @enagudo

Design Directors MIWA ESPINOZA @miwaespinoza & MICHELLE RECIO @michy.depote

The Nomad JO BARAJAS @hack3r___

Executive Producer SARAH J VILLAREAL @sarahjvillareal
Rendering Supervisor MOHAMMAD SOLEI @mo.solei
Editor VLADIMIR ZELINSKIY
Sound JULES FOSFORO @jules.b.h

Poem “The Nomad” Written and Recited by JENEVIEVE TING @tingrolls

Costume Design ENRIQUE AGUDO
Digital Costumes ADIELLA BASCHE @sgicreator
3D Scanning by HUMAN ENGINE @humanengine3d
Grooming by MICHELLE RECIO

Special thanks to Matea Friend, Gina Crow, Pierce S Myers, Shuruq Tramontini & Andre Zakhya