Andre Keichian, ‘Salt in the I’ (detail), 2019. View of negatives from Keichian’s family photo album adhered to a glass window, part of the exhibition installation at table. Photo by Kim Becker. Image courtesy of Kyle Bellucci Johanson.

New Political Imaginaries at the table: Interview with Kyle Bellucci Johanson

By Tamara Becerra Valdez
Sixty Inches From Center
August 19, 2019


Tamara Becerra Valdez: What does economic justice look like to you? Maybe that is a big question to jump into early on but how does this history impact your new project space, table.

Kyle Bellucci Johanson: No, it’s a great question and a good thread to go into for our conversation. In the project space statement for table, I believe the end line reads: “…we situate practices and facilitate critical discourse, building community outside of either institution or market.” That statement is completely intentional. My work is almost exclusively about expanding political imaginaries for ‘revolutionary becoming.’ It is often collaborative. So I was trying to find those kinds of conversations and spaces. I decided to make a space for those kinds of conversations to take place.

I wanted to do something that was extremely focused. All the artists I know who don’t have some kind of “in” such as generational wealth, legacy, family, or some kind of state-funded sponsorship, or really outside funding other than their own sort of resourcefulness and what they could do on their own, are really struggling. They are really great artists. Artists whose work is highly political, nuanced, and engaged in a discourse that I really believe in. I’m constantly searching for the next destabilization that makes me question what I think I understand about the world. I am interested in building culture and participating in politics, the way we see and frame and view and govern the world – its really difficult to situate your work when you are not in school any longer.

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