A video installation examining border issues by the three-person collective Postcommodity.
Statement by the collective: “A Very Long Line demonstrates the dehumanizing and polarizing constructs of nationalism and globalization through which borders and trade policies have been fabricated. The border “fence,” irrespective of the complex indigeneity of peoples from the region it occupies, is a very long filter of bodies and goods — a mediator of imperialism, violence, market systems, and violence capitalism. A Very Long Line acknowledges and honors the Indigenous peoples of the Western Hemisphere – both those who are experiencing diaspora, and those who are coping with the militarization of their ancestral homelands. A Very Long Line recognizes all indigenous peoples that are intermeshed in the theater of the contemporary immigration crisis of the Americas – here we (Postcommodity) refer to the historical stewards of the land, and those who are following ancient indigenous trade routes in search of economic opportunity.”
The interdisciplinary arts collective Postcommodity comprises Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Their installations, performances, and site-specific interventions provide a shared Indigenous voice to challenge and disrupt the global market and its supporting institutions. Through diverse practices, Postcommodity works to achieve several goals: to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; to promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and to connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity was featured in the 2017 Whitney Biennial and documenta14. Their recent installation Repellent Fence at the U.S./Mexico border drew attention to recent immigration controversies.