The Institute of (im)Possible Subjects is a transnational feminist collective producing art and education events and a collectively edited online open access journal of art and writing, Migratory Times. Every three months, a new “session” will commence, each focusing on dimensions of transnational feminist conversations that frame critical intersections of global migration, geopolitics, race, and gender. Each session will also present documentation from our ongoing parallel series of workshops, performances, exhibitions, and other interventions of the same name, while also putting these events in further conversation with the work of writers, artists, scholars, and activists. We engage in these activities, online and IRL: Organizing workshops and discussions hosted by artists/activists/scholars; commissioning art works and cultural interventions, and producing creative commons licensed publications, including print and digital publications. Our actions and platforms posit interdisciplinary questions about transnational cultures, digital communication and feminisms. Building from conversations between scholars and artists and activists, from the streets to independent art spaces to college campuses, our work constitutes a collective inquiry regarding digital spaces and global race, gender, sexuality, and labor politics; the transnational exchange of visual cultures and social justice through media and technoscapes; and the intervention of contemporary artists and activists in (re)defining other landscapes of knowledge. Our projects construct a decolonized knowledge commons centering women’s voices and experiences in multiple settings.
Credits and licenses
The Migratory Times online space is published by the Center for Arts, Design and Social Research, Inc., a U.S. based non-profit 501(c)3 organization supporting independent arts, design, and research focused on positive social impact, globally. U.S. tax deductible donations to the Migratory Times project may be made to the Center for Arts, Design, and Social Research. The Migratory Times series of events was funded by the Abundance Foundation (2016-2018) and produced by collective impossible, llc. We are grateful to the many supporters and collaborators who have made this work possible: The Berkman Klein Center for Internet and Society; the futuremaking.space; the Center for Arts, Design, and Social Research; and many other individuals and organizations. The individual works are owned and licensed by the authors and artists and are published here with their permission. The website is a collective work licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The site is designed and programmed by omnivore and olive studio.
Dalida María Benfield, Ph.D. (Panamá/U.S.A.) is an artist, theorist, curator and educator who researches and activates feminist and post/decolonial thought, pedagogy, and creative action in the interstices of global information ebbs and flows. She is passionate about the transformative potential of aesthetic dimensions and is the cofounder of the Center for Arts, Design and Social Research. She is also the co-founder of the Institute of (im)Possible Subjects. Other recent collective and collaborative works include the transmedia exhibitions and pedagogical projects The Museum of Random Memory, losarchivosdelcuerpo [bodyfiles] and agua-cines [watercinemas]. Each of these create platforms for critical aesthetic engagement and learning. She is Co-Chair of the Visual Arts Program at the Vermont College of Fine Arts; Visiting Scholar at Microsoft Research New England (2017); Visiting Professor in the futuremaking.space in Culture and Communication at Aarhus University, Denmark (2016-2017); Faculty Associate and Fellow at the Berkman Klein Center for Internet and Society at Harvard University (2011-2015); and former Professor and Chair of the Department of Art Education at the School of the Art Institute of Chicago (1997-2004). She is also the founder of collective impossible, llc, an independent women of color-led cultural production center and publisher. Her M.F.A is from the School of the Art Institute of Chicago and Ph.D. from the University of California-Berkeley.
Michelle Dizon is an artist, filmmaker, writer, theorist, and educator based in Los Angeles, California. Born in the United States as part of the Philippine diaspora, Dizon’s life experience has been shaped by the politics of migration across the Pacific Rim. The violence of imperialism and the intimate spaces of resistance within globalization form central pivots in her work which take the form of multi-channel video installations, expanded cinema performances, essay films, photographs, discursive events, pedagogical platforms, and writing. Dizon has exhibited and lectured internationally at venues such as the Center for Women’s Studies (Zagreb, Croatia), Caixaforum (Barcelona, Spain), Copenhagen International Documentary Film Festival (Copenhagen, Denmark), Jeu de Paume (Paris, France), IASPIS (Stockholm, Sweden), Metropolitan Museum of Art (Manila, Philippines), Sumaryo Art Space (Jakarta, Indonesia), Vargas Museum (Manila, Philippines), Para/site Art Space (Hong Kong, China), Queens Museum (Queens, United States), Los Angeles County Museum of Art (Los Angeles, United States) and the Yerba Buena Center for the Arts (San Francisco, United States). Dizon is the founder of at land’s edge, an experimental platform for visual research and catalyst for decolonial thought and action. She has taught courses on documentary, visuality, postcoloniality, globalization, war, feminism, and ecology at the California Institute of the Arts and served as co-chair and core faculty in the Visual Art program at the Vermont College of Fine Arts. She earned an MFA in Art with specialization in Interdisciplinary Studio at the University of California, Los Angeles, and a Ph.D. in Rhetoric with designated emphases in Film and Women, Gender, and Sexuality from the University of California, Berkeley. http://www.michelledizon.com/
Choralyne Dumesnil (PhD) Sciences Po Law School, is a Lawyer at the Paris Bar.
Her fields of expertise are intellectual property law (PhD and Intership at specialised court in Paris) as well as sexual and domestic violence litigation (Training at Harvard Law School 2011-2012 and NGO experience 2013-2018)
She wrote her dissertation under the supervision of Professor Michel Vivant on: “Legal teachings from India : a journey beyond the mirror of the law. Thoughts from patenting in the Indian pharmaceutical industry” (2014).
Her research relies partly on interviews with professionals in India. In 2011-2012, she was an exchange student at Harvard Law School where she worked under supervision of Professor Yochai Benkler.
During her journeys, meeting many NGOs working on the topic of sexual violence worldwide, she decided to start this work in France and became lecturer in high schools around Paris (2013-2015) and in a prison (2015). She works pro bono for the Commission for the Abolition of Female Sexual Mutilations (CAMS).
She created a course at Paris Dauphine University where she teaches the course « Sexual violence in international case law » (compulsory course M1 – 2015), that became « Legal Aspects of Gender violence conflicts » in 2016 (compulsory course BA 3rd year) at Paris Sciences et Lettres.
PUBLICATIONS
2015 :
« Rape in France, a legal perspective », CEU, Budapest, 26 Novembre (conference in english).
« Practice of intellectual property rights in France », ESSCA, Paris Summer Programm, 6.07.2015 (seminar in english).
« La protection de l’innovation en Inde », dans L’innovation à l’épreuve de la mondialisation, Pierre Dominique Cervetti (dir), Université Aix Marseilles, extraits de la thèse.
2013 :
« Chiasmic edges, short stories from legal research field work », UPES Law Review vol. 1, Dehradun, India, Empirical research for the PhD. 2013
« Pratiques religieuses et géopolitiques, réflexions depuis Ziro, Arunachal Pradesh 2013 », Les grands dossiers de diplomatie n°16
2012 :
« Les médecines traditionnelles pillées par le droit des brevets ? », Revue Internationale de Droit Économique, oct. 2012
2010 :
« Le droit de suite : quelles perspectives pour demain ? », Revue Lamy de Droit de l’Immatériel, juillet 2010
Laura grew up in central Italy, where she received her B.A, from University of Bologna, in Sociology of Culture. She worked in a homeless shelter for three years. She eventually burnt out and moved to New York to pursue her M.A. in Gender and Women’ s Studies. She then continued her studies in Immigration and Urban Sociology and completed her Ph.D. in Visual and Post-colonial Studies at University of Naples in 2007. She taught at University of Padua Italy, a new curriculum on Gender and Political Participation, and at the New York University, the San Francisco Art Institute, and recently as visiting professor in China at Xiamen University.
PUBLICATIONS
• 2015. Co- Editor with Paola Bacchetta of femminismi queer e postcoloniali. Ombrecorte, Verona. (forthcoming). • 2014 “Impossible Trajectories,” in Women in Public Higher Education, Personal Reflections. Deborah Gambs and Rose Kim, Eds. (New York: Palgrave Macmillan). (forthcoming). • 2013 Queerness in Videogames, Digital Creativity, Vol 22. No. 3. • 2013 “Writing Asian Diasporas, Envisioning Hybrid Identities” for the journal Anglistica, special issue titled “Women Writing Exile”. • 2011 editor of Gender and Precarity, ScriptaWeb, Naples, Italy. • 2010 chapter in Educare al Genere, Carocci, Milano edited by Giulia Selmi and Agnese Maria Maio • 2009-2011 book series editor Condividee, ScriptaWeb & University of Padua. • Winter 2009, article titled “Female players from margin to centre”, in Digital creativity, Routledge.
• 2009, translator of Forces of Labor by Beverly Silver, for Bruno Mondadori Publising, Milan.
• 2008 editor for a multimedia project (video and book) called Re/Sisters: on women and contemporary global resistance. Morgana Edizioni, Florence.
• 2007, article titled ‘Precarious changes’, Feminist Review, London Palgrave, n.87.
• 2006, ‘Death of a discipline, other imaginary spaces of politics and culture’ essay on death and archives, in Anglistica, vol. 8. 1-2, 2004. pp. 29-48.
• 2006, ‘La prima volta’, essay on gender, new technologies, specifically on videogames and digital media, in edited volume Futura, Rome, Meltemi.
• 2005, editor for an oral history book titled (R) Esistenze: il passaggio della staffetta, Morgana, Firenze. (interviews of women active in the anti-fascist resistance).
• 2003, Final Fantasies, gender identity and videogames, for the Journal Feminist Theory (Sage), vol.12, n.3.
Creative Work produced two documentaries on Gender and Resistance, and worked with a photographer to the related photo shows. – Re-sisters of contemporary globalization http://re-sister.noblogs.org/ -R-esistenze, interviews with anti-fascist women in Italy.See: http://www.newmedialab.cuny.edu/laura/resistances-existences.htm clip: http://www.youtube.com/watch?v=h_jAgpt8sxo
Dr. Annie Isabel Fukushima is Assistant Professor in the Division of Ethnic Studies with the School for Cultural & Social Transformation at University of Utah. Prior to joining the faculty of University of Utah, she was an Andrew W. Mellon Postdoctoral Fellow at Rutgers University (2013 – 2015) with the Institute for Research on Women and the Department of Women and Gender Studies. She received her Ph.D. from University of California, Berkeley in Ethnic Studies with a Designated Emphasis in Women, Gender & Sexuality Studies. She serves as the Secretary / Treasurer for the American Sociological Association’s Section on Human Rights and is the co-lead for the Institute of Impossible Subjects project, “Migratory Times.” Her book, Migrant Crossings: Witnessing Human Trafficking in the US examines the sociopolitical process of witnessing Asian and Latina/o migrants trafficked in the U.S. This books will be published with Stanford University Press. Her research has appeared in peer-reviewed scholarly journals: Biography (2019), VOCI (Voices): Human Sciences Semi-Annual (2018), Feminist Formations (2016), Frontiers: Journal of Women Studies (2015), and Praxis (formerly Phoebe): Gender & Cultural Critiques (2008) and chapters in edited anthologies and books – Gender: War (2017), Documenting Gendered Violence (2015), Human Trafficking Reconsidered: Rethinking the Problem, Envisioning New Solutions (2014). As an interdisciplinary scholar, she committed to praxis, therefore she has worked at all levels of organizations, where her expertise is nationally recognized; she has served as an expert witness for human trafficking cases in California and Colorado, provided expert reports for immigration cases submitted to USCIS, and a consultant for national and local organizations, where she recently produced the Grant Management Toolkit for Office for Trafficking in Persons. In 2018, she conducted multiple city-wide needs assessments (San Francisco, funded by the Department on the Status of Women and Salt Lake City, funded by the Mayor’s office).
On January 7, 2019, the Alanna Lockward, a highly respected artist, journalist, friend, and family member, a mother, a sister, passed away. As a founding member of the Institute of (Im)Possible Subjects and longtime collaborator, we will deeply miss her.
https://www.gofundme.com/alanna-Lockward
https://www.independent.co.uk/news/obituaries/alanna-lockward-dead-dominican-republic-haiti-art-labour-archive-berlin-arts-allen-report-a8752831.html
Alanna Lockward was a Berlin and Santo Domingo based Dominican author, curator and filmmaker. She was also the founding director of Art Labour Archives, an exceptional platform spiraling consistently on theory, political activism and art since 1996. Her interests encompassed Caribbean marronage discursive and mystical legacies in time-based practices, critical race theory, decolonial aesthetics/aesthesis, Blak feminism and womanist ethics. Lockward is the author of Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (Cendeac, 2006), a collection of essays, the short novel Marassà & The Nothingness (Partridge Africa 2016) and Un Haití Dominicano. Tatuajes fantasmas y narrativas bilaterales (1994-2014), a compilation of her investigative work on the history and current challenges between both island-nations (Santuario 2014).
She was cultural editor of Listín Diario, research journalist of Rumbo magazine and columnist of the Miami Herald and is currently a columnist of Acento.com.do. Her essays and reviews have been widely published internationally by Afrikadaa, Atlántica, ARTECONTEXTO, Arte X Excelencias, Art Nexus, Caribbean InTransit and Savvy Journal. In 2014 she was the guest columnist of Camera Austria.
At the Museo de Arte Moderno (Santo Domingo) Lockward was appointed Director of International Affairs (1988) and was designated as Selection Jury of the XX Bienal Nacional de Artes Visuales (1996) and as Award Jury in its 26 edition (2011).
Alanna was also known as an adjunct professor of audiovisual theory and investigative journalism at PUCMM, as well as a guest lecturer at the Humboldt Universität zu Berlin, the Decolonial Summer School Middelburg, the University of Warwick, Dutch Art Institute and Goldsmiths University of London and has been a panelist at the University of Kwa-Zulu Natal (South Africa) and Duke, Columbia and Princeton Universities in the US. She was the academic advisor of Transart Institute and is associated scholar of Young Scholars Network Black Diaspora and Germany. She has conceptualized and curated the groundbreaking trans-disciplinary meeting BE.BOP. BLACK EUROPE BODY POLITICS (2012-2016).
Alanna Lockward has been awarded by the Allianz Cultural Foundation, the Danish Arts Council and the Nordic Council of Ministers. Her first documentary project on Black Liberation Theology and the transnational history of the African Methodist Episcopal Church (AME) received the production prize FONPROCINE 2013.
http://alannalockward.com/
There are no events available.
There are no events available.
The Institute of (im)Possible Subjects is a transnational feminist collective producing art and education events and a collectively edited online open access journal of art and writing, Migratory Times. Every three months, a new “session” will commence, each focusing on dimensions of transnational feminist conversations that frame critical intersections of global migration, geopolitics, race, and gender. Each session will also present documentation from our ongoing parallel series of workshops, performances, exhibitions, and other interventions of the same name, while also putting these events in further conversation with the work of writers, artists, scholars, and activists. We engage in these activities, online and IRL: Organizing workshops and discussions hosted by artists/activists/scholars; commissioning art works and cultural interventions, and producing creative commons licensed publications, including print and digital publications. Our actions and platforms posit interdisciplinary questions about transnational cultures, digital communication and feminisms. Building from conversations between scholars and artists and activists, from the streets to independent art spaces to college campuses, our work constitutes a collective inquiry regarding digital spaces and global race, gender, sexuality, and labor politics; the transnational exchange of visual cultures and social justice through media and technoscapes; and the intervention of contemporary artists and activists in (re)defining other landscapes of knowledge. Our projects construct a decolonized knowledge commons centering women’s voices and experiences in multiple settings.
Credits and licenses
The Migratory Times online space is published by the Center for Arts, Design and Social Research, Inc., a U.S. based non-profit 501(c)3 organization supporting independent arts, design, and research focused on positive social impact, globally. U.S. tax deductible donations to the Migratory Times project may be made to the Center for Arts, Design, and Social Research. The Migratory Times series of events was funded by the Abundance Foundation (2016-2018) and produced by collective impossible, llc. We are grateful to the many supporters and collaborators who have made this work possible: The Berkman Klein Center for Internet and Society; the futuremaking.space; the Center for Arts, Design, and Social Research; and many other individuals and organizations. The individual works are owned and licensed by the authors and artists and are published here with their permission. The website is a collective work licensed under a Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International License. The site is designed and programmed by omnivore and olive studio.
Dalida María Benfield, Ph.D. (Panamá/U.S.A.) is an artist, theorist, curator and educator who researches and activates feminist and post/decolonial thought, pedagogy, and creative action in the interstices of global information ebbs and flows. She is passionate about the transformative potential of aesthetic dimensions and is the cofounder of the Center for Arts, Design and Social Research. She is also the co-founder of the Institute of (im)Possible Subjects. Other recent collective and collaborative works include the transmedia exhibitions and pedagogical projects The Museum of Random Memory, losarchivosdelcuerpo [bodyfiles] and agua-cines [watercinemas]. Each of these create platforms for critical aesthetic engagement and learning. She is Co-Chair of the Visual Arts Program at the Vermont College of Fine Arts; Visiting Scholar at Microsoft Research New England (2017); Visiting Professor in the futuremaking.space in Culture and Communication at Aarhus University, Denmark (2016-2017); Faculty Associate and Fellow at the Berkman Klein Center for Internet and Society at Harvard University (2011-2015); and former Professor and Chair of the Department of Art Education at the School of the Art Institute of Chicago (1997-2004). She is also the founder of collective impossible, llc, an independent women of color-led cultural production center and publisher. Her M.F.A is from the School of the Art Institute of Chicago and Ph.D. from the University of California-Berkeley.
Michelle Dizon is an artist, filmmaker, writer, theorist, and educator based in Los Angeles, California. Born in the United States as part of the Philippine diaspora, Dizon’s life experience has been shaped by the politics of migration across the Pacific Rim. The violence of imperialism and the intimate spaces of resistance within globalization form central pivots in her work which take the form of multi-channel video installations, expanded cinema performances, essay films, photographs, discursive events, pedagogical platforms, and writing. Dizon has exhibited and lectured internationally at venues such as the Center for Women’s Studies (Zagreb, Croatia), Caixaforum (Barcelona, Spain), Copenhagen International Documentary Film Festival (Copenhagen, Denmark), Jeu de Paume (Paris, France), IASPIS (Stockholm, Sweden), Metropolitan Museum of Art (Manila, Philippines), Sumaryo Art Space (Jakarta, Indonesia), Vargas Museum (Manila, Philippines), Para/site Art Space (Hong Kong, China), Queens Museum (Queens, United States), Los Angeles County Museum of Art (Los Angeles, United States) and the Yerba Buena Center for the Arts (San Francisco, United States). Dizon is the founder of at land’s edge, an experimental platform for visual research and catalyst for decolonial thought and action. She has taught courses on documentary, visuality, postcoloniality, globalization, war, feminism, and ecology at the California Institute of the Arts and served as co-chair and core faculty in the Visual Art program at the Vermont College of Fine Arts. She earned an MFA in Art with specialization in Interdisciplinary Studio at the University of California, Los Angeles, and a Ph.D. in Rhetoric with designated emphases in Film and Women, Gender, and Sexuality from the University of California, Berkeley. http://www.michelledizon.com/
Choralyne Dumesnil (PhD) Sciences Po Law School, is a Lawyer at the Paris Bar.
Her fields of expertise are intellectual property law (PhD and Intership at specialised court in Paris) as well as sexual and domestic violence litigation (Training at Harvard Law School 2011-2012 and NGO experience 2013-2018)
She wrote her dissertation under the supervision of Professor Michel Vivant on: “Legal teachings from India : a journey beyond the mirror of the law. Thoughts from patenting in the Indian pharmaceutical industry” (2014).
Her research relies partly on interviews with professionals in India. In 2011-2012, she was an exchange student at Harvard Law School where she worked under supervision of Professor Yochai Benkler.
During her journeys, meeting many NGOs working on the topic of sexual violence worldwide, she decided to start this work in France and became lecturer in high schools around Paris (2013-2015) and in a prison (2015). She works pro bono for the Commission for the Abolition of Female Sexual Mutilations (CAMS).
She created a course at Paris Dauphine University where she teaches the course « Sexual violence in international case law » (compulsory course M1 – 2015), that became « Legal Aspects of Gender violence conflicts » in 2016 (compulsory course BA 3rd year) at Paris Sciences et Lettres.
PUBLICATIONS
2015 :
« Rape in France, a legal perspective », CEU, Budapest, 26 Novembre (conference in english).
« Practice of intellectual property rights in France », ESSCA, Paris Summer Programm, 6.07.2015 (seminar in english).
« La protection de l’innovation en Inde », dans L’innovation à l’épreuve de la mondialisation, Pierre Dominique Cervetti (dir), Université Aix Marseilles, extraits de la thèse.
2013 :
« Chiasmic edges, short stories from legal research field work », UPES Law Review vol. 1, Dehradun, India, Empirical research for the PhD. 2013
« Pratiques religieuses et géopolitiques, réflexions depuis Ziro, Arunachal Pradesh 2013 », Les grands dossiers de diplomatie n°16
2012 :
« Les médecines traditionnelles pillées par le droit des brevets ? », Revue Internationale de Droit Économique, oct. 2012
2010 :
« Le droit de suite : quelles perspectives pour demain ? », Revue Lamy de Droit de l’Immatériel, juillet 2010
Laura grew up in central Italy, where she received her B.A, from University of Bologna, in Sociology of Culture. She worked in a homeless shelter for three years. She eventually burnt out and moved to New York to pursue her M.A. in Gender and Women’ s Studies. She then continued her studies in Immigration and Urban Sociology and completed her Ph.D. in Visual and Post-colonial Studies at University of Naples in 2007. She taught at University of Padua Italy, a new curriculum on Gender and Political Participation, and at the New York University, the San Francisco Art Institute, and recently as visiting professor in China at Xiamen University.
PUBLICATIONS
• 2015. Co- Editor with Paola Bacchetta of femminismi queer e postcoloniali. Ombrecorte, Verona. (forthcoming). • 2014 “Impossible Trajectories,” in Women in Public Higher Education, Personal Reflections. Deborah Gambs and Rose Kim, Eds. (New York: Palgrave Macmillan). (forthcoming). • 2013 Queerness in Videogames, Digital Creativity, Vol 22. No. 3. • 2013 “Writing Asian Diasporas, Envisioning Hybrid Identities” for the journal Anglistica, special issue titled “Women Writing Exile”. • 2011 editor of Gender and Precarity, ScriptaWeb, Naples, Italy. • 2010 chapter in Educare al Genere, Carocci, Milano edited by Giulia Selmi and Agnese Maria Maio • 2009-2011 book series editor Condividee, ScriptaWeb & University of Padua. • Winter 2009, article titled “Female players from margin to centre”, in Digital creativity, Routledge.
• 2009, translator of Forces of Labor by Beverly Silver, for Bruno Mondadori Publising, Milan.
• 2008 editor for a multimedia project (video and book) called Re/Sisters: on women and contemporary global resistance. Morgana Edizioni, Florence.
• 2007, article titled ‘Precarious changes’, Feminist Review, London Palgrave, n.87.
• 2006, ‘Death of a discipline, other imaginary spaces of politics and culture’ essay on death and archives, in Anglistica, vol. 8. 1-2, 2004. pp. 29-48.
• 2006, ‘La prima volta’, essay on gender, new technologies, specifically on videogames and digital media, in edited volume Futura, Rome, Meltemi.
• 2005, editor for an oral history book titled (R) Esistenze: il passaggio della staffetta, Morgana, Firenze. (interviews of women active in the anti-fascist resistance).
• 2003, Final Fantasies, gender identity and videogames, for the Journal Feminist Theory (Sage), vol.12, n.3.
Creative Work produced two documentaries on Gender and Resistance, and worked with a photographer to the related photo shows. – Re-sisters of contemporary globalization http://re-sister.noblogs.org/ -R-esistenze, interviews with anti-fascist women in Italy.See: http://www.newmedialab.cuny.edu/laura/resistances-existences.htm clip: http://www.youtube.com/watch?v=h_jAgpt8sxo
Dr. Annie Isabel Fukushima is Assistant Professor in the Division of Ethnic Studies with the School for Cultural & Social Transformation at University of Utah. Prior to joining the faculty of University of Utah, she was an Andrew W. Mellon Postdoctoral Fellow at Rutgers University (2013 – 2015) with the Institute for Research on Women and the Department of Women and Gender Studies. She received her Ph.D. from University of California, Berkeley in Ethnic Studies with a Designated Emphasis in Women, Gender & Sexuality Studies. She serves as the Secretary / Treasurer for the American Sociological Association’s Section on Human Rights and is the co-lead for the Institute of Impossible Subjects project, “Migratory Times.” Her book, Migrant Crossings: Witnessing Human Trafficking in the US examines the sociopolitical process of witnessing Asian and Latina/o migrants trafficked in the U.S. This books will be published with Stanford University Press. Her research has appeared in peer-reviewed scholarly journals: Biography (2019), VOCI (Voices): Human Sciences Semi-Annual (2018), Feminist Formations (2016), Frontiers: Journal of Women Studies (2015), and Praxis (formerly Phoebe): Gender & Cultural Critiques (2008) and chapters in edited anthologies and books – Gender: War (2017), Documenting Gendered Violence (2015), Human Trafficking Reconsidered: Rethinking the Problem, Envisioning New Solutions (2014). As an interdisciplinary scholar, she committed to praxis, therefore she has worked at all levels of organizations, where her expertise is nationally recognized; she has served as an expert witness for human trafficking cases in California and Colorado, provided expert reports for immigration cases submitted to USCIS, and a consultant for national and local organizations, where she recently produced the Grant Management Toolkit for Office for Trafficking in Persons. In 2018, she conducted multiple city-wide needs assessments (San Francisco, funded by the Department on the Status of Women and Salt Lake City, funded by the Mayor’s office).
On January 7, 2019, the Alanna Lockward, a highly respected artist, journalist, friend, and family member, a mother, a sister, passed away. As a founding member of the Institute of (Im)Possible Subjects and longtime collaborator, we will deeply miss her.
https://www.gofundme.com/alanna-Lockward
https://www.independent.co.uk/news/obituaries/alanna-lockward-dead-dominican-republic-haiti-art-labour-archive-berlin-arts-allen-report-a8752831.html
Alanna Lockward was a Berlin and Santo Domingo based Dominican author, curator and filmmaker. She was also the founding director of Art Labour Archives, an exceptional platform spiraling consistently on theory, political activism and art since 1996. Her interests encompassed Caribbean marronage discursive and mystical legacies in time-based practices, critical race theory, decolonial aesthetics/aesthesis, Blak feminism and womanist ethics. Lockward is the author of Apremio: apuntes sobre el pensamiento y la creación contemporánea desde el Caribe (Cendeac, 2006), a collection of essays, the short novel Marassà & The Nothingness (Partridge Africa 2016) and Un Haití Dominicano. Tatuajes fantasmas y narrativas bilaterales (1994-2014), a compilation of her investigative work on the history and current challenges between both island-nations (Santuario 2014).
She was cultural editor of Listín Diario, research journalist of Rumbo magazine and columnist of the Miami Herald and is currently a columnist of Acento.com.do. Her essays and reviews have been widely published internationally by Afrikadaa, Atlántica, ARTECONTEXTO, Arte X Excelencias, Art Nexus, Caribbean InTransit and Savvy Journal. In 2014 she was the guest columnist of Camera Austria.
At the Museo de Arte Moderno (Santo Domingo) Lockward was appointed Director of International Affairs (1988) and was designated as Selection Jury of the XX Bienal Nacional de Artes Visuales (1996) and as Award Jury in its 26 edition (2011).
Alanna was also known as an adjunct professor of audiovisual theory and investigative journalism at PUCMM, as well as a guest lecturer at the Humboldt Universität zu Berlin, the Decolonial Summer School Middelburg, the University of Warwick, Dutch Art Institute and Goldsmiths University of London and has been a panelist at the University of Kwa-Zulu Natal (South Africa) and Duke, Columbia and Princeton Universities in the US. She was the academic advisor of Transart Institute and is associated scholar of Young Scholars Network Black Diaspora and Germany. She has conceptualized and curated the groundbreaking trans-disciplinary meeting BE.BOP. BLACK EUROPE BODY POLITICS (2012-2016).
Alanna Lockward has been awarded by the Allianz Cultural Foundation, the Danish Arts Council and the Nordic Council of Ministers. Her first documentary project on Black Liberation Theology and the transnational history of the African Methodist Episcopal Church (AME) received the production prize FONPROCINE 2013.
http://alannalockward.com/