To paraphrase the poem Shades of Anger by Palestinian-Canadian poet of Lebanese descent Rafeef Ziadah, All the Shades of Anger. Poetics and Politics of Anti-racism is devised as an exhibition that will trigger and bring together artistic, poetic and political practices that radically denounce the historical and contemporary dimensions of racism. Anger is understood here as a place of enunciation that responds to the mistreatment produced by the colonial conscious and unconscious mind in its different forms of exclusion, violence and death.
The anger enables us to stop speaking in whispers and start speaking from a plurality ofracialised voices that openly and without euphemisms dissent from the systems that perpetuate racism. In this way they open up a space to black, Moorish, eastern and spic visualities and textualities that from the perspective of political anti-racism reveal the survival of colonial order and expose the false neutrality of white European ideology. Hence, the exhibition displays racialised bodies as active subjects of enunciation that suggest dissident ways of understanding life, politics, affections, sexuality, ecology and philosophy to Western thought. These themes and the works by the artists taking part in the exhibition are structured around four thematic cores or sections:
Growing Up in a White World. This section focuses on the colonial construction of Western families and on how the model of discrimination that preserves the main pillars of white supremacy and consolidates Western racism has been imposed on us since our childhood. Similarly, childhood is portrayed as a key moment for us to define ourselves in opposition to whiteness and to create early tools of resistance.
Zoos of Monsters. This section presents parodies and critiques of the animalisation, eroticisation and exoticisation of non-white bodiesstarting from the human zoos set up in the nineteenth century.
The Erotic Life of Racism. Racism doesn"t only work in public and institutional fields but also in private lives and sexual-affective relationships. This section is dedicated to the racist construction of desire, and is a criticismof feminism and white queer studies.
They Didn"t Expect Us To Survive. The section that closes the show critiques hegemonic forms of Western knowledge and revisits other forms of wisdom generated in the Global South. In this sense All the Shades of Anger. Poetics and Politics of Anti-Racism opens a door to the reconstruction of other epistemologies denied by the West, thereby suggesting possibilities of a "future that has already been lived", as established in Andean circular thought.
The various themes are articulated in this polyphonic, angry and dissidentcuratorial exercise that is openly anti-racist and appalled by the malaise generated by the colonial processes of Western whiteness. Thus, the exhibition aims to be a space in which we may imagine possibilities of recreating past, present and future where racist violence, pleasure and power are realigned.