Date: October 22, 2018
Location: Crescent Ballroom, 308 N 2nd Ave, Phoenix, AZ 85003
The sixth edition of Crossfade LAB will stage an intimate dialogue between Colombian Canadian musician Lido Pimienta and London-born, Los Angeles-based Colombian artist Carolina Caycedo. Moderated by CALA Crossfade Lab co-curator and MacArthur Fellow Josh Kun, our evening will be an experimental mix of music and movement, exploring themes central to both Pimienta and Caycedo: land and rights, resistance and representation, and performance that challenges the work of power.
Crossfade LAB is organized with generous support from the Diane & Bruce Halle Foundation and in collaboration with Crescent Ballroom and ASU Art Museum.
ABOUT THE ARTISTS:
Lido Pimienta is a Toronto-based, Colombian-born interdisciplinary musician and artist-curator. She has performed, exhibited, and curated around the world since 2002, exploring the politics of gender, race, motherhood, identity and the construct of the Canadian landscape in the Latin American diaspora and vernacular. Lido’s Polaris Music Prize-winning album La Papessa (2016) was written in multiple cultural and geographic settings – the desert of Indigenous Wayuu land and the northern mountains in Colombia, as well as in Canada, in both London and Toronto, Ontario – and the music, in turn, reflects these settings. The sounds on La Papessa take listeners on a musical journey from traditional Afro-Colombian percussion to global bass and darker avant-garde electronic sounds.
Carolina Caycedo was born in London to Colombian parents. She transcends institutional spaces to work in the social realm, where she participates in movements of territorial resistance, solidarity economies, and housing as a human right. Carolina’s artistic practice has a collective dimension to it in which performances, drawings, photographs and videos are not just an end result, but rather part of the artist’s process of research and acting. Through work that investigates relationships of movement, assimilation and resistance, representation and control, she addresses contexts, groups, and communities that are affected by developmental projects, like the constructions of dams, the privatization of water, and its consequences on riverside communities. She has developed publicly engaged projects in major cities across the globe, from Bogota to London, New York to Paris, and San Juan to Tijuana. Her work has been exhibited at several international biennials, and has been the subject of solo shows in galleries from Los Angeles to Berlin.
Josh Kun is an author, academic, curator and music critic. He is the recipient of a 2016 MacArthur Fellowship. His research focuses on the arts and politics of cultural connection, with an emphasis on popular music, the cultures of globalization, the US-Mexico border, Los Angeles and Jewish-American musical history.
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