ARTPIL Profiles of the Arts

Postcommodity
arts collective

Postcommodity is an interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), Native Arts and Cultures Foundation (2014), and the Mid Atlantic Arts Foundation (2017). The collective has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, BE; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; 2017 Whitney Biennial, New York; Art in General, New York; Documenta 14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON.

Postcommodity acknowledges the important contributions of its previous collaborators: Steven Yazzie (2007-2010), Nathan Young (2007-2015), Adam Ingram-Goble (Game Remains), Andrew McCord (If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, and Promoting a More Just, Verdant and Harmonious Resolution), Annabel Wong (Dead River) and Existence AD (Dead River).

Postcommodity is represented by Bockley Gallery, Minneapolis, MN.

www.postcommodity.com

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Postcommodity
arts collective

Postcommodity is an interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), Native Arts and Cultures Foundation (2014), and the Mid Atlantic Arts Foundation (2017). The collective has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, BE; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; 2017 Whitney Biennial, New York; Art in General, New York; Documenta 14, Athens, GR and Kassel, DE; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON.

Postcommodity acknowledges the important contributions of its previous collaborators: Steven Yazzie (2007-2010), Nathan Young (2007-2015), Adam Ingram-Goble (Game Remains), Andrew McCord (If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, and Promoting a More Just, Verdant and Harmonious Resolution), Annabel Wong (Dead River) and Existence AD (Dead River).

Postcommodity is represented by Bockley Gallery, Minneapolis, MN.

www.postcommodity.com

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RELATED ARTICLES
ARTPIL / Prescription .077
Look back on 2018
Matthew Hong  /  December 31, 2018
2018 comes to an end, we can almost hear the fireworks. Let our solitude be a period of self reflection;…
2018 comes to an end, we can almost hear the…
[+]
Universal Declaration of Human Rights
70 year Anniversary
Matthew Hong  /  December 10, 2018
Recognition of the inherent dignity and of the equal and inalienable rights of all members of the human family is…
Recognition of the inherent dignity and of the equal and…
[+]
Let Us Now Give Thanks
Contemporary Native American Art
Matthew Hong  /  November 22, 2018
Today is Thanksgiving. A nation’s founding conditioned on colonialism, proclamation premised on the blood of the natives and sustained with…
Today is Thanksgiving. A nation’s founding conditioned on colonialism, proclamation…
[+]
Hyperobjects
Through Nov 4, 2018 / Ballroom Marfa
Ballroom Marfa  /  October 19, 2018
A landmark group exhibition to confront the scale of today’s ecological crisis seeking to create encounters with artworks and non-art…
A landmark group exhibition to confront the scale of today’s…
[+]
ARTPIL / Prescription .025
Our look back on 2017
Matthew Hong  /  December 31, 2017
So here we are, the last day of the year, 2017. We are wrapping up our first 6 months, recently…
So here we are, the last day of the year,…
[+]
Postcommodity: A Very Long Line
Through Dec 22, 2017 / Esker Foundation
Esker Foundation  /  October 20, 2017
A Very Long Line is a four-channel video installation that employs the image and idea of the fence demarcating the…
A Very Long Line is a four-channel video installation that…
[+]