Despite Censorship Row, a Show Connecting Immigrant Rights and Police Brutality Goes On – Hyperallergic

View of Scott Daniel Williamss Storefront Sign for the Ungovernable City (2016) partially installed at the Loisaida Center (image courtesy the artist)

Ifyou visitthe Loisaida Centerin the next month, the firstthing youll notice is the sound of running water and voices some in English, some in Spanish telling stories about the Rio Grande river. Then youll see the rest of El Paso-based artist Zeke Peas collaboration with local musicianEureka The Butcher,River Border, a large graphite drawing on cloth that maps the stretch of the MexicoUS border where a military wallruns along the banks of the Rio Grande in the El Paso del Norte region. The combined effect of the Peas drawing and Eurekas recordingsis powerfully evocative, transporting the visitor to the rivers edge.

The next sound you mightve heard would have come from Albuquerque-based artistScott Daniel Williamss interactive sculpture, Storefront Sign for the Ungovernable City which, behind a sign that reads Police Not Welcome, can be toggledby pulling a chainto simultaneously play a recording of Ornette Colemans The Artist in America and audio ofthe killing ofJames Boyd byAlbuquerque Police Department officers in 2014. That workwas originally installed near Loisaidas main entrance by the curators ofFuture Now // Futura Ahora, Atomic Culture(the duo of Matthew and Malinda Galindo), but was removed on February 3, the day before the exhibitions opening. The decision, taken unilaterally by one of Loisaidas directors, was spurred by a fear that the centers CEO, Raul Russi a former Buffalo police officer who was injured in the line of duty would object to the work.This act of censorship repeatedly threatened to undo Atomic Culturesvital exhibition.

Its a very difficult situation for us as artists because this is a community center, and its a Latin Americancommunity center specifically, thats done a lot of really, really incredible work and we want to stand as allies with the center, Williams told Hyperallergic. It was a difficult decision to even take any sort of stand, but at the same time I think we [the artists in the show]feel like thats where we have to start. If were going to talk about expression and social justice we have to start at home, in these places where we should all be most accountable.

Russi who only became aware of the situation after Williams had issued a public statement and protested the exhibition opening, and negotiations between the artist, curators, and Loisaida directors had reached an impasse finally saw Storefront Sign for the Ungovernable City and the rest ofFuture Now // Futura Ahoraduring a visit to the center on Saturday. Today, he releaseda public statement about and apologyfor the works removal, paving the way for the reinstallation of Williamss work in a different space at Loisaida tomorrow.

Unfortunately, our team jumped to the wrong conclusion that I would object to the exhibition of one of the pieces without consulting with me in advance, Russis statement reads. I had the opportunity over the weekend to have a dialogue with the Atomic Culture organizers, to clarify all of this and to offer my apologies on behalf of Loisaida, Inc. As CEO, I let Atomic Culture know that the piece can be part of their ongoing exhibit.

Indeed, Williamss work seems especially relevant for an exhibition about social justice at a community center that represents a historically over-policed community and is located directly next to a major NYPDstation. Add to this the fact that all the featured artists in Future Now // Futura Ahoraare based in the southwestern United States, an area poised to become an intensified zoneof activity for the USs militarized border patrols under President Trump, and the show takes on an added sense of urgency.

In addition to Williamss piece, several other works in the exhibition condemn the excessive use of force and systemic abuses of agents paid to uphold the law. For instance, the mural On Both Sides of the Border Women Are Still Being Murdered (2016) a collaboration between Albuquerque-based artist Nani Chacon and author Tanaya Winder highlights the vulnerability of women in both Mexico and the US. And Peas aforementioned map of the Rio Grande and border wall includes a drawing of a threatening US Border Control vehicle alongside the words: You have the right to remain silent.In one of the exhibitions main rooms, a row of small, vintage-looking cell phones emits poetry and displays compass faces that seem to point the viewer north. The work, Transborder Immigrant Tool, is a safety systemdeveloped by San Diego-based artistsRicardo Dominguez and Brett Stalbaumto help disoriented travelers in any desert setting to find their way. The program offers tips for desert survival in the form of poetry recited in several different languages, and logs the coordinatesof known water caches, offering a vital tool for people crossing, for instance, the MexicoUS border in southern California, where the artists developed and tested it between 2009 and 2012.

Atomic Culturehas brought together a powerful group of artists from the southwestern US, many of whom are making work at theconfluence of art and activism, and most of whom are too rarely exhibitedin New York. Fortunately, Loisaida has rectifiedthe earliercensorship of one work and, in doing so, avoided jeopardizing the telling of all the other featured artistsimportant stories. Indeed, the reinstallation of Williamss piece will provide a crucial link between the issues of migrant safety and anti-immigrant infrastructure along the MexicoUS border that many of these artists are addressing. Police brutality often targets the most vulnerable residents in the country, and some US cities situated near the Mexican border are particularly prone to this type of institutionalized violence. The fact that many of the artists here are from Albuquerque is particularly poignant, since the citys police department is under investigation for use of force by the Department of Justice.Future Now // Futura Ahora is a testament to the works artists make not only to cope with such conditions, but to combat them.

Future Now // Futura Ahora continues at the Loisaida Center (710 East 9th Street, Lower East Side, Manhattan) through March 18.

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Despite Censorship Row, a Show Connecting Immigrant Rights and Police Brutality Goes On - Hyperallergic