As we all get ready to kick into the weekend, Strike editors bring you another round of finds from the Internet. This week includes a documentary about institutionalized racism in the South Texas education system, a spoken-word poet who’s words are both comforting yet unsettlingly-honest, a film about the human condition under our economic system, an article about the watering down of the artistic movement during the Mexican Revolution and a jarring set of images. And, we’re off!
Beatriz: I watched the screening of this documentary at A&M-Corpus Christi some time ago. Language barriers for first-graders served as excuses for school boards to hold Spanish-speakers back from graduating to the second-grade for up to three years. The school boards were made up of white farmers in Driscoll, Texas who wanted to keep their labor. Bigger than the issue of race, which is what the entire documentary rides on, is the watered-down solutions that came from the dissent. Institutionalized racism was not as evident as it should have been, and the film barely addresses the continued inequity in public schools today by concentrating on the issue of race more than the issue of poverty. Nonetheless, the doc was informative, and I wanted to show some support for the dudes. They were very nice.
Erika: Sometimes when I question being a writer, I turn to a regular, self-destructive cycle which always ends in me flailing and considering claiming defeat. Other times, I turn to other writers. But Lauren Zuniga is not so much a writer as she is a poet, activist, performer and just fucking amazing. I’ve only seen her speak in videos online, but when I saw this piece of her’s titled “Retail Therapy,” it only confirmed that she really is something special. Zuniga manages to take the act of flailing and remind us that others are also running around not knowing either and not only is it okay and normal, it’s completely necessary.
Raul: My friend Richard showed this to me and called it a “Situationist documentary.” There are probably a lot of terms that would describe “On Modern Servitude” correctly: foreboding, pretentious, sensational, etc. But overall, to me, it’s the sort of film that knows exactly what it is: a radical film, with radical aspirations and makes no apologies with its chosen artistic direction. Composed entirely of imagery appropriated from commercial productions, the film describes modern humankind’s servile condition under capitalism, with haunting narration and a musical overlay. While the artistic style of the documentary may be off-putting for some, the content and overall message is, for the most part, horrifically spot-on.
Elyveth: So apparently the Royal Academy recently had an exhibition featuring some of Mexico’s greatest revolutionary artistic ideas and artist. The exhibition, Mexico: A Revolution in Art 1910-1940, which takes one of the most dramatic episodes in the history of modern art and confines it to the attic, while another exhibition is presented in the larger rooms for it’s bourgeois festival. Not only did they cram it in a tiny space, but they also failed to focus on what caused these creative artistic expressions, which included, you know, the fucking Mexican Revolution, and just exploited “celebrity” artist like Diego Rivera and Edward Burra.
Mike: I really don’t want to say anything about Los Intocables, a project by artists Erik Ravelo and Daniel Ferreira. It speaks for itself.