On a morning ride through Port-au-Prince

October 3rd 2011

This is a guest post by Matthew Levasseur.

Today I woke up, took a shower, and got a moto-taxi ride to the bus station. I paid about 12.50 for the motorcycle ride across town (it's pretty far), through the Port-au-Prince morning traffic. It was thrilling and scary as it always is, but today I found it relaxing for some reason.

The driver always needs to get ahead. We ride between the lanes of traffic and hope that they keep their formation, their straight lines. They never do, because the road is full of pot holes and inconsistencies; so the cars ahead are always coming together or moving apart. We constantly dive into the gap and hope. We have to avoid the pot holes too, and it makes for an interesting game. My part is to stay limber and balanced.

Markets as cultural intersections II: The economics of Dominican-Haitian social relations

September 26th 2011

In my last post I wrote about how longstanding differences in Dominican and Haitian national identities and economy are reflected throughout their production chain, from their creation by cultured subjects, their distribution in Santo Domingo's tourist markets, and also in the consumption by tourists who are drawn to their 'naïve' or 'colonial' aesthetics.

I wanted to make the point that while differences between the two nations are certainly real, the art markets themselves are somewhat artificial spaces where the cultural products for sale have been disembedded from the contexts of their production. They take on a kind of performative role that, while 'saying something' meaningful about identity, also flatten out its complexities.

Markets as cultural intersections I: Reflections of nationality in Haitian and Dominican paintings

September 22nd 2011

When I started fieldwork in Santo Domingo in 2004, I was struck by how Dominican public spaces appear to act as a middle ground in which Haitian transnationals sell their art to foreign tourists. With few tourists to sell to in Haiti, dealers buy art and bring it across the border for the much larger Dominican market.

Dominicans appear to have little to do with this transaction, since most of the paintings are produced and distributed by Haitian nationals. Furthermore, Dominicans rarely buy Haitian-style paintings as they prefer their own national aesthetic. Their role seems limited to attracting tourists and allowing Haitian dealers to use Dominican public space.

Death on the border: Ciudad Juarez, femicide, and a Chicano art response

September 19th 2011

This guest blog by Lance Richardson discusses his research on art made in response to the murder of women on the US-Mexico border. Lance is a freelance writer and photographer based in Sydney and New York

Ciudad Juárez first came into my field of vision through the windows of an airconditioned bus. I was returning from Mexico to the U.S. by way of El Paso, Texas, and that meant a drive through its sister city south of the border. The place meant nothing to me at the time, but I remember its sprawl and aura of grim deterioration