ONE in the most dangerous effects of the bullying of a pambully -Bully is that victims are afraid to be true to themselves, because they are the important and true parts of them that motivate the scandal of the pambully.
In his first week in the office Donald Trump released a blitzkrieg of executive orders. Among them, the end of illegal discrimination and restoration of opportunity based on the merit and end of radical and waste government programs of government and prefers. “According to the Leadership Conference on Civil and Human Rights, besides these things directing administration agencies and staff are:
End the difference -the equity, and the offices, positions, and programs in the federal government; End out the grants related to equity and contracts; and removal of previous executive orders designed to ensure equal opportunity in the workplace, including a decade old executive order from Johnson’s management … Carrying
In the art scene these moratoriums are almost immediate fruits. Cheryl Edwards, a visual artist and curator based in Washington DC, is working at an exhibition entitled before America should be mounted at the Art Museum of the Americas, a cultural area governed by the American States (OAS) organization (OAS), an organization established in 1948 with all 35 independent countries of Western Hemisphere. In 2021 Edwards was approached by the current director of the museum, Adriana Ospina, and former director Pablo Zúñiga, in, in his words, was curated by an exhibition to include American American artists in the DC area. They agree with a framework that participates in the question “Because we are people in a society that exists before slavery, how does this itself be shown in the work of artists in this area and the work of artists in their collection?” He was given a budget of $ 20,000 (with a $ 5,000 curator fee), the money allocated by the US Embassy in OAS under Joe Biden, Francisco or Mora. Edwards’ show was set to open on March 21st, but Ospina told her on February 6th that her show was “finished”. Edwards proved that this had happened “because it was Dei”.
Similarly, Andil Gosine, a Canadian and Curator artist, who is also a professor of art in the environment and justice at York University in Toronto, has invested many years at an exhibition at the same museum. His show, titled Wild’s Wild with Andil Gosine, is essentially a cooperation project with 50 artists, writers and technicians who explore the themes he reviews in his book of the same title. This is to include the artwork of a dozen artists from all over America, many of them are LGBTQ+ people of color. He received a phone call from Ospina on February 5 informing him that the show was canceled, despite the outs of the OAS (which came from the Canada Council). For him that was “frustrating news”. He said: “This is the most time, money and heart that I have put into whatever. It will be the most popular of my last 15 years of art work.”
In his background in international relationship (working at the World Bank after graduate school) Gosine understood that the museum’s response had to do with the fear of losing their budget by showing queer artists at the end of another executive order, this one promised a “United States Support Association process of all international organizations”. He explained: “This is a content question, a gamble on how to deal with a transfer of political flow: To fit enough, sacrifice some people, sacrifice your values to survive, and then the budget can’t get it.” According to the Congressional Research Service, in 2023 OAS had a budget of $ 145.2M, with the US contributing 57% of that. Having the United States to save their support clearly lacerate the operations of the organization. However, Gosine thinks that their anticipatory acquiescence may be nothing. He asked how an organization that initially concerned with human rights and society justice could recreate himself to moltify revenge and unwanted regime.
The cancellation of art exhibitions negatively affects the life of the curators, but these executive orders have a more necessary impact on the lives of artists – especially immigration status is in flux. Erika Hirugami, a former undocumented Mexico-Japanese immigrants, UCLA doctor candidate, and a Los Angeles-based curator for 10 years, told me that the harassment that immigrants had been removing the immigrants had eliminated themselves, expecting the law enforcement officials and the law. He proved that he knew more than 80 artists who were “afraid of having an exhibition at a museum saying this artist did not document a sign of a reality that constitutes a kind of violence”.
To better understand this, it is helpful to think of the work of French sociologist Pierre Bourdieu, who has widely studied visitors to the European Art Museum in 1960, concerned with why most visitor profiles in the art museum seemed to be linked to a specific socio-economic class. What he found was given the proliferation of central-class aesthetics throughout the museum, most people working in the class who were selected without attending, feeling that the museum was not the place for them. He called the de facto denial of the poor and the working class “symbolic violence”, which means a non -physical violence expressed by imposing social standards of a group with greater social power. Worse, these standards have been internalized by all social groups who believe that the society’s hierarchy and inequality are natural and inevitable.
Hirugami explained that for the uninitiated artists, this administration sought to normalize living in fear. Practically this means that some artists are now paying paid for their work for fear of monitoring their salary method. Thus, their labor is unknown and free of charge. To protect themselves by some artists, according to Hirugami, go to “Zero Social”, making themselves not visible by taking their websites and social media pages.
Arleene Correa Valencia, a former undocumented artist living in Napa, California, understands this fears. “There is no handbook on how to lose that fear,” he said. Valencia was an enrollee in the Deferred Action for Childhood Arrivals (DACA) program, and a college student in the previous Trump administration, when he was under the almost always threat of his scholar and way of staying in the country legally. Even today, achieving permanent status with the resident, he still remembers. “I still feel like I’m a target, especially going to my residence as a dreamer. There is a feeling that I did it the wrong way.”
Less than two months after administration of the federal government, Trump and his agents have created ways to not only erase certain artists and certain types of art; But also to force artists to erase themselves, in the name of self -protection. This is exactly the opposite of their most important task: to engage in the public to experience their work and to move them toward the transformation. What is a possible solution? Valencia turned to her art. He said:
My training has changed so far I have a better basis for knowing that my people have a good language of painting. And with me too, I hit my head to get to know, my native background and my connection to Mexico. This is the time when we should introduce our marks, not only to our bodies, but to our work, the scores that are true to ourselves. “
In fact, it is important to reject the choice of self -violence by rejecting the very aspects of self -targeting the war of the culturally conducted by this administration. To maintain who you are can be your own kind of success.
