ニュー・ミュージアム・オブ・コンテンポラリー・アートのインスタグラム(newmuseum) - 7月30日 01時24分
Overlaying historical experiences of migration to and within the United States with the current plight of refugees around the world, "The Warmth of Other Suns" brings together a multitude of voices, offering an image of migration as an experience shared by many across vastly different contexts. Presented at The Phillips Collection in Washington, DC, in partnership with the New Museum. #WarmthofOtherSuns @phillipscollection
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Francis Alÿs in collaboration with Julien Devaux, Felix Blume, Ivan Boccara, Abbas Benheim, Fundaciéon Montenmedio Arte, and children of Tanger and Tarifa, "Don't Cross the Bridge Before You Get to the River (Strait of Gibraltar, Morocco-Spain)," 2008. © Francis Alÿs. Courtesy @francis_alys_official and @davidzwirner
[BIHAKUEN]UVシールド(UVShield)
theother.film
“ᴛʜɪꜱ ɪꜱ ᴛʜᴇ ꜱᴇɴꜱᴇ ɪɴ ᴡʜɪᴄʜ ᴡᴇ ᴄᴀɴ ᴜɴᴅᴇʀꜱᴛᴀɴᴅ ᴛʜᴇ ᴄʟᴏꜱᴇ ʀᴇʟᴀᴛɪᴏɴꜱʜɪᴘ ʙᴇᴛᴡᴇᴇɴ ꜱʟᴀᴠᴇʀʏ ᴀɴᴅ ʀᴀᴄɪꜱᴍ ɪɴ ᴛʜᴇ ᴀᴍᴇʀɪᴄᴀꜱ.
ɪɴ ᴛʜᴇɪʀ ᴅᴇꜱɪʀᴇ ᴛᴏ ᴊᴜꜱᴛɪꜰʏ ᴛʜᴇ ᴇɴꜱʟᴀᴠᴇᴍᴇɴᴛ ᴏꜰ ᴀꜰʀɪᴄᴀɴ ʙʟᴀᴄᴋꜱ ɪɴ ᴛʜᴇ ɴᴇᴡ ᴡᴏʀʟᴅ, ᴄᴀᴛʜᴏʟɪᴄ ᴍᴏɴᴀʀᴄʜꜱ, ᴛʜᴇ ᴄʜᴜʀᴄʜ, ᴀɴᴅ ᴀʟʟ ᴍᴀɴɴᴇʀ ᴏꜰ ᴄʜʀɪꜱᴛɪᴀɴ (ᴄᴀᴛʜᴏʟɪᴄ ᴀɴᴅ ᴘʀᴏᴛᴇꜱᴛᴀɴᴛ) ꜱʟᴀᴠᴇ-ᴏᴡɴɪɴɢ ᴘʟᴀɴᴛᴇʀꜱ ʀᴇʟɪᴇᴅ ʜᴇᴀᴠɪʟʏ ᴏɴ ᴛʜᴇ ᴄʟᴀɪᴍ ᴛʜᴀᴛ ᴛʜᴇ ʙʟᴀᴄᴋꜱ ᴡᴇʀᴇ ᴇᴠɪʟ, ᴄᴜʀꜱᴇᴅ ʙʏ ɢᴏᴅ, ᴀɴᴅ ꜰᴜʟʟʏ ᴅᴇꜱᴇʀᴠɪɴɢ ᴏꜰ ᴘᴜɴɪꜱʜᴍᴇɴᴛ (ᴇɴꜱʟᴀᴠᴇᴍᴇɴᴛ) ꜰᴏʀ ᴛʜᴇɪʀ ʀᴇᴘᴏʀᴛᴇᴅ ꜱɪɴꜱ ᴀɴᴅ ᴍɪꜱᴅᴇᴇᴅꜱ ɪɴ ʙɪʙʟɪᴄᴀʟ ᴛɪᴍᴇꜱ.”
– ᴀɴᴛᴏɴ ʟ. ᴀʟʟᴀʜᴀʀ, “ᴡʜᴇɴ ʙʟᴀᴄᴋ ꜰɪʀꜱᴛ ʙᴇᴄᴀᴍᴇ ᴡᴏʀᴛʜ ʟᴇꜱꜱ” (1993);
ɪɴ “ʀᴀᴄɪꜱᴍ - ᴇꜱꜱᴇɴᴛɪᴀʟ ʀᴇᴀᴅɪɴɢꜱ”, ᴇᴅ. ᴇʟʟɪꜱ ᴄᴀꜱʜᴍᴏʀᴇ ᴀɴᴅ ᴊᴀᴍᴇꜱ ᴊᴇɴɴɪɴɢꜱ (2001).
mjswb250
The land that represents and offers a dream for many but then on their arrival after often via arduous and even dangerous travel on denies the opportunity to live that dream and more often than not treats these individuales in a very humiliating and degrading way. Aside from the authentic native Americans called “Indians” Who in all fairness and honesty were the rightful inhabitants of the land, America was settled and developed by immigrants. The Statue of Liberty says it clearly. Time ( past) to revamp politics and politicians, education, moral values and behavior of ManKIND 🙏👍
theother.film
“ᴏᴠᴇʀ ᴀ ᴍɪʟʟɪᴏɴ ᴇᴜʀᴏᴘᴇᴀɴꜱ ᴡᴇʀᴇ ʜᴇʟᴅ ᴀꜱ ꜱʟᴀᴠᴇꜱ ꜰʀᴏᴍ ᴛʜᴇ 1530ꜱ ᴛʜʀᴏᴜɢʜ ᴛʜᴇ 1780ꜱ ɪɴ ᴀꜰʀɪᴄᴀ, ᴀɴᴅ ʜᴜɴᴅʀᴇᴅꜱ ᴏꜰ ᴛʜᴏᴜꜱᴀɴᴅꜱ ᴡᴇʀᴇ ᴋᴇᴘᴛ ᴀꜱ ꜱʟᴀᴠᴇꜱ ʙʏ ᴛʜᴇ ᴏᴛᴛᴏᴍᴀɴꜱ ɪɴ ᴇᴀꜱᴛᴇʀɴ ᴇᴜʀᴏᴘᴇ ᴀɴᴅ ᴀꜱɪᴀ.”
– ᴀʟᴀɴ ɢᴀʟʟᴀʏ, “ɪɴᴅɪᴀɴ ꜱʟᴀᴠᴇʀʏ ɪɴ ᴛʜᴇ ᴀᴍᴇʀɪᴄᴀꜱ”, ᴛʜᴇ ɢɪʟᴅᴇʀ ʟᴇʜʀᴍᴀɴ ɪɴꜱᴛɪᴛᴜᴛᴇ ᴏꜰ ᴀᴍᴇʀɪᴄᴀɴ ʜɪꜱᴛᴏʀʏ.
theother.film
“ᴡᴇ ʀᴇᴀʟɪᴢᴇ ᴛʜᴀᴛ ᴛʜɪꜱ ᴄᴏᴜɴᴛʀʏ ʙᴇᴄᴀᴍᴇ ᴠᴇʀʏ ʀɪᴄʜ ᴜᴘᴏɴ ꜱʟᴀᴠᴇʀʏ ᴀɴᴅ ᴛʜᴀᴛ ꜱʟᴀᴠᴇʀʏ ɪꜱ ᴄᴀᴘɪᴛᴀʟɪꜱᴍ ɪɴ ᴛʜᴇ ᴇxᴛʀᴇᴍᴇ. ᴡᴇ ʜᴀᴠᴇ ᴛᴡᴏ ᴇᴠɪʟꜱ ᴛᴏ ꜰɪɢʜᴛ, ᴄᴀᴘɪᴛᴀʟɪꜱᴍ ᴀɴᴅ ʀᴀᴄɪꜱᴍ. ᴡᴇ ᴍᴜꜱᴛ ᴅᴇꜱᴛʀᴏʏ ʙᴏᴛʜ ʀᴀᴄɪꜱᴍ ᴀɴᴅ ᴄᴀᴘɪᴛᴀʟɪꜱᴍ.”
– ʜᴜᴇʏ ᴘ. ɴᴇᴡᴛᴏɴ, ɪɴᴛᴇʀᴠɪᴇᴡ ᴡɪᴛʜ “ᴛʜᴇ ᴍᴏᴠᴇᴍᴇɴᴛ” (1968).
theother.film
“ᴍᴏʀᴇ ᴛʜᴀɴ ᴀ ᴍɪʟʟɪᴏɴ ᴇᴜʀᴏᴘᴇᴀɴꜱ ᴡᴇʀᴇ ᴇɴꜱʟᴀᴠᴇᴅ ʙʏ ɴᴏʀᴛʜ ᴀꜰʀɪᴄᴀɴ ꜱʟᴀᴠᴇ ᴛʀᴀᴅᴇʀꜱ ʙᴇᴛᴡᴇᴇɴ 1530 ᴀɴᴅ 1780”.
– ʀᴏʙᴇʀᴛ ᴅᴀᴠɪꜱ, “ᴄʜʀɪꜱᴛɪᴀɴ ꜱʟᴀᴠᴇꜱ, ᴍᴜꜱʟɪᴍ ᴍᴀꜱᴛᴇʀꜱ: ᴡʜɪᴛᴇ ꜱʟᴀᴠᴇʀʏ ɪɴ ᴛʜᴇ ᴍᴇᴅɪᴛᴇʀʀᴀɴᴇᴀɴ, ᴛʜᴇ ʙᴀʀʙᴀʀʏ ᴄᴏᴀꜱᴛ, ᴀɴᴅ ɪᴛᴀʟʏ, 1500-1800” (2003).
theother.film
ʙᴇᴛᴡᴇᴇɴ 1525 ᴀɴᴅ 1866, ɪɴ ᴛʜᴇ ᴇɴᴛɪʀᴇ ʜɪꜱᴛᴏʀʏ ᴏꜰ ᴛʜᴇ ꜱʟᴀᴠᴇ ᴛʀᴀᴅᴇ ᴛᴏ ᴛʜᴇ ɴᴇᴡ ᴡᴏʀʟᴅ, ᴀᴄᴄᴏʀᴅɪɴɢ ᴛᴏ ᴛʜᴇ ᴛʀᴀɴꜱ-ᴀᴛʟᴀɴᴛɪᴄ ꜱʟᴀᴠᴇ ᴛʀᴀᴅᴇ ᴅᴀᴛᴀʙᴀꜱᴇ, 12.5 ᴍɪʟʟɪᴏɴ ᴀꜰʀɪᴄᴀɴꜱ ᴡᴇʀᴇ ꜱʜɪᴘᴘᴇᴅ ᴛᴏ ᴛʜᴇ ɴᴇᴡ ᴡᴏʀʟᴅ.
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