Over de rol van kunst in een globaliserende samenleving

Framer Framed

Quinsy Gario, Performance: Nets have many holes (2012)

Performance: Nets have many holes

We’ve descended from

the heavens to hallways

and spaces filled to the brim with the touches

of the extra terrestrials.

Terre de la patria

and women bring us to the outreaches

of the boundaries

that need to be materially transcended.

Contact springs to mind

as images of white beaches

translate the energy of stars


that reside in the open palms

of the arresting and

cardiac arrested-hold your breath-

talk to me beyond your tongue-

beings who walk among us.

They’ve uncovered the silences

inherent to the discovery of where they’re from.

Collectively recollecting

the collection of universalities

because we’ve saved the best jokes

for our wakes.

Glenda Martinus

So let’s say goodbye

to easy and comfortable generalizations

lain to rest among

the ashes of the suspension of disbelief.

We are the invaders and squatters

of the modern art plantations

that drive us to and beyond the brink

of sanity and the sanitarium

and the sanitized.

Un-proper conduct defies our

understanding of places and cement cages.


Bodies inherited that navigate

constellations that move limbs

and tremble trees that trace

lines of faces unseen and felt.

Disturbed into freedom

through the separation of negation

from false consensus and consciousness.

Here is the call for an identity

based on achievements

and beyond the beauty of

localized categorizations.

Glenda Martinus

Potent potentials produce

the populations that must

embrace their cultured nature.

Brought together development must be

shrugged off and expression

given the air to breathe and sigh

about slavery being our common link.

The sweet smell of division

translates the necessity of

multiple fences.

So we seek a balance


that exchanges roots and beets

with sugar cane and fish hooks.

Nets have many holes

and thus we puncture the whole

to move the center and the margin

and the cliché and the unexpected.

We become through the other

and our exceptionality is identified

through the loss of awareness.

Michael stands up

and reveals the romantic politics


of kissing the future.

We deal with the present

through the possible realities of the future.

My body now asks my fingers

why English is shared

and Remy notes the history of economic power.

Divided and conquered scars

of privilege reveal themselves

in the kinship of time with proximity.

Pride through distance.

Absolutes versus shifting sands of


the definition of humanity

Curated to disavow the energies

on stage

the stage uplifts what was created

to deny them existence.

Reimagining the center through the center

is no change at all

just tokens in the same broken slot machines.

Symbols appear that deny their indexes

recognizable through stripping away

bark from wood


exterior from interior.

Names come after actions

and resistances don’t just come afterwards.

Postcolonialism is part of colonialism.

Let’s escape the confines of time

and loop the post

return to sender

dub the steps

and not the stairs

escape the discipline

of otherworldly definitions.

Glenda Martinus

We’re here to talk

about our work

about our locations

about our bodies

about ourselves.

The selves that move

in and out of sight

between the pauses

of time and space

and beyond

the notion of what is slightly



By T. Martinus

Images: Glenda Martinus

Performance van T. Martinus en Glenda Martinus tijdens de bijeenkomst Close Encounters of the Caribbean Kind onderdeel van het randprogramma bij de expositie Who More Sci-Fi Than Us? (2012) van Nancy Hoffman in KAdE (Amersfoort).

Caraiben / Koloniale geschiedenis / Migratie /


Close Encounters of the Caribbean Kind
Artist talk rond de expositie Who More Sci-Fi Than Us?


Glenda Martinus


Quinsy Gario

Dichter, kunstenaar, theatermaker