Presented here is a rebroadcast of a responsive witnessing event produced through the STTLMNT Digital Occupation project. This is a conversation between Karyn Recollet, Emily Johnson, Joseph M. Pierce and Camille Georgeson-Usher. You are invited to first Watch the recording of the filmed performance, The Ways We Love and The Ways We Love Better, Monumental Movement Toward Being Future Being(s), Emily Johnson's Collaboration with Jeffrey Gibson, presented at Socrates Sculpture Park, NY, September 16, 2020, and which this Responsive Witnessing conversation is in relationship with.

Performed by Emily Johnson and Angel Acuña, Nia-Selassi Clark, Linda LaBeija, Denaysha Macklin, Annie Ming-Hao Wang, Angelica Mondol Viaña, Ashley Pierre-Louis, Katrina Reid, Kim Savarino, Sasha Smith, Stacy Lynn Smith, Paul Aster Stone-Tsao, Kim Velsey, Sugar Vendil

Invocation by Nanate River
Garments and Masks byJeffrey Gibson
Sculpture by Jeffrey Gibson

Because Once You Enter My House It Becomes Our House, 2020.
Plywood, posters, steel, LEDs, and performances, 44 x 44 x 21 ft.
Presented by Socrates Sculpture Park, NY, September 16, 2020

You are invited to a screening of the film performance, The Ways We Love and The Ways We Love Better, Monumental Movement Toward Being Future Being(s), followed by a responsive witnessing with Karyn Recollet, Emily Johnson, Dylan Robinson, Joseph M. Pierce and Camille Georgeson-Usher. In partnership with Digital Hub and Socrates Sculpture Park.

For the STTLMNT screening event Emily Johnson will be joined by the BODY of SCHOLARSHIP - Indigenous futurists, visionary thinkers and organizers:

Karyn Recollet is an urban Cree scholar/artist/and writer, Recollet’s work focuses on relationality and care as both an analytic and technology for Indigenous movement-based forms of inquiry within urban spaces. Recollet works collaboratively with Indigenous dance-makers and scholars to theorize forms of urban glyphing. Recollet is in conversation with dance choreographers, Black and Indigenous futurist thinkers and Indigenous and Black geographers as ways to theorize and activate futurist, feminist, celestial and decolonial land-ing relationships with more-than-human kinships, and each other.

Camille Georgeson-Usher is a Coast Salish/Sahtu Dene/Scottish scholar, artist, and writer from Galiano Island, BC of the Pune’laxutth’ (Penelakut) Nation. She completed her MA in Art History at Concordia University where she worked to prove the impact of the performing arts in building confidence and leadership amongst Indigenous youth by learning to talk/embody discussions about safer sexual practices. She is currently a PhD candidate in the Cultural Studies department at Queen’s University and has been awarded the Joseph-Armand Bombardier Canada Graduate Scholarships-Doctoralfor her research-creation workaround urban Indigenous experiences within Indigenous arts collectives and other groups activating public spaces through gestures both little and big. Her artistic and curatorial practices are predominantly looking through acts of deep, loving convergences with colleague Asinnajaq (Isabella Weetaluktuk).

Joseph M. Pierce (Cherokee Nation) is Associate Professor in the Department of Hispanic Languages and Literature at Stony Brook University. His research focuses on the intersections of kinship, gender, sexuality, and race in Latin America, 19th century literature and culture, queer studies, Indigenous studies, and hemispheric approaches to citizenship and belonging. He is the author of Argentine Intimacies: Queer Kinship in an Age of Splendor, 1890-1910 (SUNY Press, 2019) and co-editor of Políticas del amor: Derechos sexuales y escrituras disidentes en el Cono Sur (Cuarto Propio, 2018) as well as the forthcoming special issue of GLQ, “Queer/Cuir Américas: Translation, Decoloniality, and the Incommensurable.” Along with SJ Norman (Koori, Wiradjuri descent) he is co-curator of the performance series Knowledge of Wounds.