Postcommodity is an interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Previous collaborators include Raven Chacon.
From the Journal
- Remembering Artist James Luna (1950-2018) March 14, 2018
- The Repellent Fence Story, as told by Postcommodity October 1, 2015
Postcommodity is an Indigenous interdisciplinary arts collective comprised of Cristóbal Martínez, and Kade L. Twist.More
Postcommodity presented The Repellent Fence, the largest bi-national land art installation ever exhibited on the US/Mexican border, near Douglas, Arizona and Agua Prieta, Mexico. The Repellent Fence is comprised of 26 tethered “scare eye” balloons, ten feet in diameter, floating fifty feet above the desert landscape creating a temporary two-mile-long sculpture that intersects the US/Mexico border. With The Repellent Fence, Postcommodity built bi-national bridges between American Indian, Mexican and Latin American immigrant communities; demonstrate the interconnectedness of the Hemisphere; and reaffirm the indigeneity of immigrant peoples, as well as the original inhabitants of this region.