{"id":5639,"date":"2016-08-15T23:27:36","date_gmt":"2016-08-15T16:27:36","guid":{"rendered":"http:\/\/arkipel.org\/?p=5639"},"modified":"2017-08-02T19:31:46","modified_gmt":"2017-08-02T12:31:46","slug":"curatorial-program-the-politics-of-language-from-subjection-to-subjectivity","status":"publish","type":"post","link":"https:\/\/arkipel.org\/curatorial-program-the-politics-of-language-from-subjection-to-subjectivity\/","title":{"rendered":"Curatorial Program: The Politics of Language \u2013 From Subjection to Subjectivity"},"content":{"rendered":"

Politik Bahasa \u2013 Dari Penundukan ke Subjektivitas<\/strong><\/h3>\n

Curator: Ruth Noack<\/em><\/p>\n

 <\/p>\n

Kuratorial ini berangkat dari ide tentang penerjemahan yang dapat membantu kita saling memahami, tetapi ia tidak selalu menyulap persoalan menjadi hilang. Kita perlu menerima bahwa ada pengetahuan dalam kehidupan sehari-hari yang tak dapat semata-mata dipindah atau ditukar lewat peralihan kata dari satu bahasa ke bahasa lain. Kuratorial ini berfokus pada video Imogen Stidtworthy, berjudul Barrabackslarrabang<\/em> (2009-10), yang konteksnya diperluas dengan cara ditempatkan ke dalam dua bagian. Pertama, ke dalam kumpulan filem yang semuanya mengangkat kuasa dan penundukan dalam bahasa dengan cara yang kritis dan memberontak. Kedua, ke dalam kumpulan filem yang difokuskan pada bahasa filem-filem itu sendiri. Secara tersirat, kuratorial ini juga mengemukakan bahwa konsentrasi pada sesuatu yang kecil, pada sesuatu yang spesifik, pada sesuatu yang lokal atau dalam keseharian, tidak menghalangi penciptaan makna yang memungkinkan kita untuk membentuk imaji akan dunia.<\/p>\n

This curatorial is based on idea about translation that can help us to understand each other, but it does not always \u201cdo the trick\u201d. We need to accept that there is a knowledge in everyday life that cannot be simply moved or traded by an exchange of words from one language to another. This curatorial focuses on a video by Imogen Stidtworthy, Barrabackslarrabang<\/em> (2009-10), where its context extended by presenting it into two parts. First part, a collection of films highlingting power and subordination in the language in critical and rebellious way. Second part, a collection of films focusing on the language of the films themselves. Implicitly, this curatorial also argues that to concentrate on something small, on something specific, on something that is local or in everyday life, does not preclude the creation of meaning that allow us to form images on the world.<\/span><\/p>\n

–<\/p>\n

Bar<\/strong>rabackslarrabang
\n<\/strong>Imogen Stidworthy, UK, 2009-10, 9mins 13secs<\/em><\/p>\n

\"vlcsnap-2016-08-04-22h18m00s470\"<\/p>\n

Barrabackslarrabang<\/em> memperlihatkan empat orang yang berbicara dalam kombinasi antara bahasa Inggris standar dan slang<\/em> jalanan. Tiga di antara mereka dari Liverpool dan bicara \u201cbackslang<\/em>\u201d yang memperdaya telinga karena mengganti huruf vokal pada kata-kata kunci dengan bunyi \u201cab\u201d, \u201cag\u201d, \u201carrab\u201d (contoh, backslang=barrabackslarrabang<\/em>). Orang keempat bicara dalam slang<\/em> Birmingham yang menggunakan taktik serupa, dengan bunyi \u201ciligili\u201d. Backslang<\/em> tumbuh dari kemiskinan dan dipakai untuk menyembunyikan aktivitas kriminal tapi, seperti semua bahasa, backslang<\/em> juga merupakan ruang identifikasi, tempat bersama dalam bahasa, dan dituturkan dengan bangga. Hal itu bisa dilihat sebagai suatu gejala tapi juga sebentuk perlawanan.<\/p>\n

Imogen Stidtworthy <\/strong>(London, 1963) menggunakan suara sebagai bahan baku dalam film, instalasi, dan karya audio. Ia menjelajahi bentuk-bentuk bahasa yang berbeda untuk merefleksikan bagaimana kita terbentuk secara sosial dan sebagai individu. Karyanya berkembang melalui dialog, kerap dengan orang-orang yang suaranya dipengaruhi oleh kondisi sosial atau fisik seperti afasia atau gangguan stres pasca-trauma.<\/p>\n

Barrabackslarrabang<\/em> involves four people speaking a combination of standard English and underground slang. Three of them are from Liverpool and speak \u2018backslang\u2019, which confuses the ear by replacing vowels in key words with the sounds \u2018ab\u2019, \u2018ag\u2019 or \u2018arrab\u2019 (eg. backslang = barrabackslarrabang). The fourth speaks Birmingham slang which uses a similar tactic, with the sound \u2018iligili\u2019. Backslang grew out of poverty and is used to hide criminal activities, but like all languages it is also a space of identification, a shared place in language, and is spoken proudly. It can be seen as a symptom, but also as a form of resistance.<\/span><\/p>\n

Imogen Stidworthy <\/strong>(London, 1963) uses the voice as a sculptural material in films, installations and sound works. She explores different forms of language to reflect on how we are formed socially and as individuals. Her works develop through dialogue, often with people whose voice is effected by physical or social conditions such as aphasia or post-traumatic stress disorder.<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Say it<\/strong>
\nSherry Moses & Coleen Finlayson, Canada, 1987, 7mins 30secs.<\/em><\/p>\n

\"vlcsnap-2016-08-04-23h13m26s029\"<\/p>\n

Say It <\/em>menerobos ke dalam retorika ketepatan politis (political correctness<\/em>) untuk menggambarkan bagaimana bahasa dan bentuk-bentuk normatif penggunaan bahasa dipakai untuk meredam para migran. Sosok perempuan utama, yang sangat mungkin merupakan generasi migran pertama, berusaha untuk mematuhi seorang guru laki-laki, yang berpura-pura simpatik tapi sesungguhnya ingin menggagalkannya. Namun perempuan itu berhasil….<\/p>\n

Cherie Moses <\/strong>adalah seniman Kanada yang beremigrasi dari Amerika Serikat dan kini tinggal di Vancouver, BC. Gelar sarjana ia dapatkan dalam Sastra Inggris dan master dalam seni visual. Cherie telah berpameran di tingkat internasional dengan serangkaian luas media, seperti lukisan, karya berbasis foto, cetak, instalasi, seni performans, instalasi audio dan video. [Diambil dari http:\/\/www.videopool.org\/catalogue\/artists\/?id=249<\/a>]\n

Coleen Finlayson <\/strong>selama sebelas tahun ini aktif dalam industri film dan televisi, baik dalam bidang pendidikan maupun komersial. Saat ini ia mengajar di jurusan Audiovisual Communications di Grant MacEwan Community College di Edmonton. Finlayson telah memproduksi dua video secara bersama-sama dengan Cherie Moses. [Diambil dari http:\/\/www.videopool.org\/catalogue\/artists\/?id=114<\/a>]\n

Say it cuts through the rhetorics of Canadian political correctness to depict how language and normative forms of using language are used to keep migrants down. The main female figure, who is most probably a first generation migrant, is trying to comply with a male teacher, who pretents sympathy but is actually setting her up to fail. But she prevails…<\/span><\/p>\n

Cherie Moses<\/strong> is a Canadian artist who emigrated from the United States and she currently lives in Vancouver, BC. She holds an undergraduate degree in English Literature as well as graduate degrees in visual art. Cherie has exhibited internationally in a wide range of media, such as painting, photo-based work, prints, installations, performance art, audio installations and video. [Retrieved from http:\/\/www.videopool.org\/catalogue\/artists\/?id=249<\/a>]. <\/span><\/p>\n

Coleen Finlayson<\/em><\/strong> has been involved with the film and television industry, both in the commercial and the educational fields, for the past eleven years. She currently teaches in the Audiovisual Communications program at Grant MacEwan Community College in Edmonton. Finlayson has co-produced two videos with Cherie Moses. [Retrieved from http:\/\/www.videopool.org\/catalogue\/artists\/?id=114<\/a><\/em>].<\/em><\/span>
\n–<\/p>\n

I don’t call it rioting, I call it an insurrection
\n<\/strong>BBC, 2011, TV, 5mins<\/em><\/p>\n

\"vlcsnap-2016-08-04-22h20m21s612\"<\/p>\n

Saat seorang laki-laki mengekspresikan pendapatnya, yang oleh suatu aturan tak tertulis dalam bahasa Inggris dilarang untuk diutarakan, sang jurnalis terkejut. Ia tidak dapat merespons secara memadai dan berusaha mempengaruhinya. Tapi laki-laki itu menolak untuk patuh. Si jurnalis pun membalas dengan kehendak keras yang biasa dimiliki mereka yang berkuasa. Gagasan bahwa media arus utama adalah netral atau demokratis maka diperlihatkan sebagai mitos. Klip ini diambil dari sebuah acara berita tentang kerusuhan London 2011, saat kaum muda berdemonstrasi untuk menentang pembunuhan yang dilakukan seorang polisi terhadap seorang anak muda kulit hitam. Toko-toko dijarah, barang-barang hancur.<\/p>\n

When a man expresses opinions that are by an unspoken British rule forbidden to be spoken out loud, the journalist is stunned. She cannot react adequately and tries to sway him. But he refuses to oblige her. She retaliates with the violent might of those in power. The idea that mainstream media is neutral or democratic is thus shown to be a myth. This clip is taken from a news show on the 2011 London riots, when youth protested against the police murder of a young black man. Stores were looted, property destroyed.<\/em><\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Abstract Your Shit Is
\n<\/strong>Alejandra Salinas & Aeron Bergman, UK, 2009, 1mins 58secs.<\/em><\/p>\n

\"abstract<\/p>\n

Kita mendengar suara seorang laki-laki kulit hitam dengan apik memberikan analisis Marxis tentang kondisi masyarakat. Dalam nada dan gaya, sepertinya ini \u201csuara dari ghetto<\/em>\u201d. Namun sesungguhnya itu adalah petikan dari pidato yang diberikan di Detroit oleh pengacara buruh Kenneth Crockel untuk League of Revolutionary Black Workers. Pada tataran visual, karya ini mengangkat kapitalisasi cair. Pada awalnya ini diciptakan sebagai karya seni publik untuk kota Birmingham pasca-industrial.<\/p>\n

Alejandra Salinas <\/strong>dan Aeron Bergman<\/strong> adalah duo seniman yang menghasilkan objek-objek dan karya-karya patung, audio, internet, performans, dan media dengan praktik yang aktif secara sosial, konseptual, dan lintas disiplin. Mereka berpameran secara internasional. [Diambil dari https:\/\/en.wikipedia.org\/wiki\/Alejandra_and_Aeron<\/a>]\n

We hear a black male voice eloquently giving a marxist analysis of the state of society. In tone and style, it would seem that this is ‘a voice from the ghetto’. In fact, it is an excerpt from a speech delivered in Detroit by labour attorney Kenneth Cockrel for the League of Revolutionary Black Workers. On a visual level, this work deals with liquid capitalisation. It was originally comissioned as a public art piece for the post-industrial city of Birmingham.<\/em><\/span><\/p>\n

Alejandra Salinas<\/em><\/strong> and Aeron Bergman<\/strong><\/em> are an artist duo producing media, performance, internet, sound and sculptural works and objects in an interdisciplinary, conceptual yet socially engaged practice. They are exhibiting internationally. [Retrieved from https:\/\/en.wikipedia.org\/wiki\/Alejandra_and_Aeron<\/a><\/em>].<\/em><\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Why you talk so white
\n<\/strong>Maya Wegrich, Youtube, 2 mins 45 secs.<\/em><\/p>\n

\"Why\u00a0<\/strong><\/p>\n

Apa yang terjadi saat seorang perempuan muda kulit hitam Afrika Selatan bicara bahasa Inggris dalam suatu konteks Amerika-AS? Seperti halnya tidak hanya ada satu sejarah kolonialitas, ada bahasa-bahasa penindasan dan pembebasan yang berbeda-beda dan terkadang saling bertentangan. Maja Wegerich mengingatkan kita akan ini dalam penampilannya membacakan puisi spoken word<\/em> \u201cWhy you talk so white\u201d.<\/p>\n

Maya Wegerif<\/strong>, lahir di Afrika Selatan, tinggal di Amerika Serikat. Seorang penyair spoken word<\/em>, pengaruh terbesarnya adalah para penyair Iyeoka dan Kgafela Oa Makgogodi. Tema-tema yang sering muncul dalam tulisannya adalah kesadaran Kulit Hitam, Feminis, dan Politis. Seorang Afr(i can)ist<\/em> garis keras, Maya percaya bahwa \u201cAfrika untuk Afrika adalah sesuatu yang seharusnya terjadi hari ini.\u201d [Diambil dari http:\/\/mayathepoet.com\/<\/a>]\n

What happens when a young South African black woman speaks English in an US-American context? Just as there is not just one history of coloniality, there exist different, sometimes conflicting languages of oppression and liberation. Maja Wegerich reminds us of this in her performance of her spoken word poem Why you talk so white.<\/span><\/p>\n

Maya Wegerif<\/strong>, born in South Africa, resides in the USA. A Spoken Word Poet, her biggest influences are poets Iyeoka and Kgafela Oa Makgogodi. Prevelant themes in her writing are Political, Feminist and Black conscious. A die-hard Afr(i can)ist Maya believes that \u201cAfrika for Afrika is the order of the day.\u201d [http:\/\/mayathepoet.com\/].<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Barrabackslarrabang
\n<\/strong>Imogen Stidworthy, UK, 2009-10, 9mins 13secs<\/em><\/p>\n

\"vlcsnap-2016-08-04-22h18m12s641\"<\/p>\n

Barrabackslarrabang<\/em> memperlihatkan empat orang yang berbicara dalam kombinasi antara bahasa Inggris standar dan slang<\/em> jalanan. Tiga di antara mereka dari Liverpool dan bicara \u201cbackslang<\/em>\u201d yang memperdaya telinga karena mengganti huruf vokal pada kata-kata kunci dengan bunyi \u201cab\u201d, \u201cag\u201d, \u201carrab\u201d (contoh, backslang=barrabackslarrabang<\/em>). Orang keempat bicara dalam slang<\/em> Birmingham yang menggunakan taktik serupa, dengan bunyi \u201ciligili\u201d. Backslang<\/em> tumbuh dari kemiskinan dan dipakai untuk menyembunyikan aktivitas kriminal tapi, seperti semua bahasa, backslang<\/em> juga merupakan ruang identifikasi, tempat bersama dalam bahasa, dan dituturkan dengan bangga. Hal itu bisa dilihat sebagai suatu gejala tapi juga sebentuk perlawanan.
\n<\/strong><\/p>\n

Imogen Stidtworthy <\/strong>(London, 1963) menggunakan suara sebagai bahan baku dalam film, instalasi, dan karya audio. Ia menjelajahi bentuk-bentuk bahasa yang berbeda untuk merefleksikan bagaimana kita terbentuk secara sosial dan sebagai individu. Karyanya berkembang melalui dialog, kerap dengan orang-orang yang suaranya dipengaruhi oleh kondisi sosial atau fisik seperti afasia atau gangguan stres pasca-trauma.<\/p>\n

Barrabackslarrabang involves four people speaking a combination of standard English and underground slang. Three of them are from Liverpool and speak \u2018backslang\u2019, which confuses the ear by replacing vowels in key words with the sounds \u2018ab\u2019, \u2018ag\u2019 or \u2018arrab\u2019 (eg. backslang = barrabackslarrabang). The fourth speaks Birmingham slang which uses a similar tactic, with the sound \u2018iligili\u2019. Backslang grew out of poverty and is used to hide criminal activities, but like all languages it is also a space of identification, a shared place in language, and is spoken proudly. It can be seen as a symptom, but also as a form of resistance.<\/span><\/p>\n

Imogen Stidworthy <\/strong>(London, 1963) uses the voice as a sculptural material in films, installations and sound works. She explores different forms of language to reflect on how we are formed socially and as individuals. Her works develop through dialogue, often with people whose voice is effected by physical or social conditions such as aphasia or post-traumatic stress disorder.<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Histoires comme \u00e7a
\n<\/strong>Abdelghani Bibt, Marocco, 2000, 5mins<\/em><\/p>\n

\"Histoires\u00a0<\/strong><\/p>\n

Judul Histoires comme \u00e7a<\/em> diambil dari kisah fantasi Rudyard Kipling tentang asal-usul, Just So Stories<\/em>. Dalam nadanya, video ini menggaungkan modus sastra dan jalinan melankolis sebuah kisah. Tapi Abdelghani Bibt sepenuhnya membalikkan kiasan naratif ini (Barat dan kolonial) dalam gambarannya tentang kehidupan sebuah komunitas kecil Maroko. Walaupun suara narator adalah dalam bahasa Prancis, yang mungkin tak dapat dicerna oleh banyak orang dalam audiens, film ini layak ditonton karena pesannya tersampaikan bahkan kendati tak semua kata narator dimengerti.<\/p>\n

Abdelghani Bibt <\/strong>(Beni Mellal, 1967) terlibat dalam beberapa proyek yang meliputi seni instalasi, fotografi, dan proyeksi video. Ia menuntaskan magang di National School of Photography di Arles, Prancis, pada 1995 dan 1997 secara berturut-turut membingkai potret oleh Sarah Moon dan kreativitas dalam warna oleh Giuliana Scime dan Franco Fontana. Abdelghani Bibt adalah anggota Moroccan Association of Photographic Art (AMAP). Tinggal dan bekerja di Beni Mellal. [Diambil dari http:\/\/www.babelfan.ma\/component\/artists\/details\/1\/250\/abdelghani-bibt.html<\/a>]\n

Histoires comme \u00e7a<\/em> takes its title from Rudyard Kipling’s fantastic tales of origin, Just So Stories. In its tone the video echos the literary mode and melancholic spinning of a tale. But Abdelghani Bibt turns this (Western and colonial) narrative trope on its head in his portrayal of life in a small Moroccan community. Though the narrator’s voice is in French, which might be undecipherable to many people in the audience, the film is worth seeing, because the message is transported even if not all of the words of the narrator are understood.<\/span><\/p>\n

Abdelghani Bibt<\/strong> (Beni Mellal, 1967) involved in several projects including video projections, photography and installation art. He completed an internship at the National School of Photography in Arles in France, in 1995 and 1997 successively framed portrait by Sarah Moon and creativity in color by Giuliana Scime and Franco Fontana. Abdelghani Bibt is a member of the Moroccan Association of Photographic Art, AMAP. Lives and works in Beni Mellal. [Retrieved from http:\/\/www.babelfan.ma\/component\/artists\/details\/1\/250\/abdelghani-bibt.html<\/a>]. <\/span><\/p>\n

–<\/p>\n

The State of Things<\/strong>
\nRosalind Narhashibi, UK, 2000, 3mins 30secs<\/em><\/p>\n

\"nashabishi_rosalind_p7951_the_state_of_things\"<\/p>\n

Dalam The State of Things<\/em>, sebuah pasar barang bekas di Glasgow dipadukan dengan lagu pengiring yaitu sebuah lagu cinta klasik Mesir dari era 1920-an. Para migran merupakan bagian dari hidup sehari-hari di Inggris tapi mereka cenderung menjadi tak terlihat akibat produksi budaya arus utama. Dengan jukstaposisi yang sederhana ini, Rosalind Narhashibi memperlihatkan bahwa apa yang bisa dipersepsikan sebagai \u201cInggris\u201d telah lama dirasuki oleh budaya migran. Dan ia memperlihatkan bahwa leburnya identitas budaya memiliki keindahan yang menakjubkan.<\/p>\n

Rosalind Narhashibi <\/strong>menciptakan karya film, patung, fotografi, dan cetak. Ia telah berpameran tunggal di New York, Basel, Christchurch, London, Glasgow, dan Dublin, dan merupakan perempuan pertama yang memenangkan Beck\u2019s Futures Art Prize (2003).<\/p>\n

In The State of Things<\/span><\/em>, a jumble sale in Glasgow is combined with a soundtrack of an Egyptian classic love song from the 1920s. Migrants make up part of everyday life in England, but they tend to be made invisible by mainstream cultural production. By this simple justaposition Rosalind Narhashibi shows that what might be conceived as ‘English’ has long been suffused by migrant culture. And she shows that is melting of cultural identity has a wondrous beaut<\/span>y.<\/p>\n

Rosalind Nashashibi<\/strong> creates works in film, sculpture, photography and printmaking. She has had solo exhibitions in New York, Basel, Christchurch, London, Glasgow and Dublin and was the first woman to win the Beck’s Futures Art Prize (2003).<\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Fatima’s letter<\/strong>
\nAlia Syed, UK, 1992, 21mins<\/em><\/p>\n

\"1093400\"<\/p>\n

Dengan pengambilan gambar hampir seluruhnya di stasiun bawah tanah Whitechapel di London, Fatima\u2019s Letter<\/em> mengambil bentuk sepucuk surat yang ditulis seorang perempuan kepada kawannya. Ceritanya dituturkan dalam bahasa Urdu dan, walaupun ada subtitle<\/em> bahasa Inggris, teksnya tampaknya tidak selalu sesuai dengan apa yang diucapkan. Apa yang dipahami dan oleh siapa? Film ini membuka ruang tulisan (\u00e9criture<\/em>) feminin radikal yang dilandaskan pada suatu pemahaman tentang persilangan antara ras, kelas, dan gender.
\n<\/em><\/span><\/p>\n

Alia Syed <\/strong>telah membuat film eksperimental di Inggris selama lebih dari 25 tahun. Film-filmnya telah diputar di banyak institusi di seluruh dunia. Syed saat ini mengajar dalam Fotografi dan Seni Murni di Southampton Solent University dan University of Kent. http:\/\/aliasyed.co.uk\/<\/a><\/p>\n

Shot almost entirely at Whitechapel underground station in London, Fatima’s letter takes the form of a letter a woman writes to her friend. The story is spoken in Urdu and though there are English subtitles, they do not always appear in conjunction with what is spoken. What is understood and by whom? This film opens up a space of radical feminine ‘ecriture’ that is grounded in an understanding of the intersection of race, class and gender . <\/span><\/p>\n

Alia Syed<\/strong> has been making experimental films in Britain for over 25 years. Her films have been shown at numerous institutions around the world. Syed currently lectures in Photography and Fine Art at Southampton Solent University and University of Kent. http:\/\/aliasyed.co.uk<\/a><\/span><\/p>\n

 <\/p>\n

–<\/p>\n

Damascus, Ommayad Mosque<\/strong>
\nLidwien van de Ven, the Netherlands, 2007, 3 mins<\/em><\/p>\n

 <\/p>\n

Lidwien van de Ven mengarahkan kamera pada seorang anak perempuan yang berbaring di lantai Mesjid Ommayad dan dalam tindak yang sederhana itu menggoyang dunia. Anak ini dimungkinkan untuk hidup dalam ruangnya sendiri di dalam ranah publik. Orang-orang, dewasa, melintasinya, tak mengganggu impian atau khayalannya, tapi ia tak sendirian. Ia terbawa oleh sekitarnya.
\n<\/em><\/p>\n

Lidwien van de Ven <\/strong>berkarya dengan fotografi dan video. Walaupun gambar-gambarnya yang terutama berfokus pada masalah-masalah agama dan politik memiliki kualitas fotojurnalistik, gambar-gambar itu mempertanyakan apa yang tak terlihat dalam peristiwa-peristiwa yang diliput media. Ia mengadakan pameran secara internasional dan ambil bagian dalam Documenta 12, Kassel, 2007.<\/p>\n

Lidwien van de Ven points a camera at a girl lying on the floor of the Ommayad Mosque and in that simple act unhinges the world. This child is allowed to live her own space within the public sphere. People, adults, are passing around her, not disturbing her dreams or fantasies, yet she is not alone. She is carried by her surroundings. <\/span><\/p>\n

Lidwien van de Ven<\/strong> works with photography and video. While her images that attend to primarily political and religious subjects have a photojournalistic quality, they question the unseen in events covered by the media. She exhibits internationally and was part of documenta 12, Kassel, 2007.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

This curatorial is based on idea about translation that can help us to understand each other, but it does not always \u201cdo the trick\u201d.<\/p>\n","protected":false},"author":1,"featured_media":5645,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"@ARKIPEL Curatorial Program: The Politics of Language \u2013 From Subjection to Subjectivity. 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