You should try talking in my shoes for a mile —Sofia Vergara
Our research thinks translation as a method and radical practice of sharing which is political. We have the intention to generate an editorial platform for translating texts and other materials around decolonial theory. To undertake this task we should first of all decolonize translation. Our thesis is that there’s an unequal access and distribution of knowledge and translation is a way to act on those geopolitical forces. On the one hand, there’s texts in English that can’t be accessed by those who can’t speak in English and on the other, there’s a lack of decolonial texts translated to English. If we translate from English, then more people will have access, and if we translate into English, more people will have a voice. Further questions around decolonial thinking will be tackled—which impact on understandings of subjects and their voices. The project would allow us to inhabit the form/content of the text as a radical starting point, not an end.
Nevertheless, these translation practices are happening in non-art contexts. Anime fansub communities offer the paradigmatic example of how translation can be subversively activated and will therefore form the basis for our project. These practices have radically changed the way we relate to the traditional idea of translation by means of it taking place in a cybernetic world. Digisub practices leverage technological environments, ranging from file sharing in order to share raw content for translation and to distribute the finished product to chat rooms for discussion as well as multimedia authoring and subtitling tools. These “cultural remediators” embed themselves in the materiality of the content they translate.
The garage school sparked in Bogotá in 2013 as an informal program that has no consistent or permanent infrastructure; instead it exists on very little, our schools emerge like fruiting bodies in relation to a particular place, subject or host(s). We are interested in knowledge and tools that are considered irrelevant, of low quality or without official validity. The general objective of the school is to collectively unlearn freely and for free.
Right now the escuela is a diasporic office of cultural projects. Working in contexts where we are explicitly not native, we currently work with community kitchens, ‘ultratranslate’ decolonial theory, and garden as a way of meeting and studying.
The escuela is a relational anarchy project; there are no official members and schools can be convened by anyone who has taken part in one. This iteration of the escuela is convened by María Angélica Madero (Mexico DF, Pisces fire rabbit) and Santiago Pinyol (Bogotá, Sagittarius Water Dog).
Santiago Pinyol, Santiago Pinyol is an undisciplined artist who situates his practice on the coastline between art and education. Based between Rotterdam and Bogotá his work explores the logic, imaginaries and effects of power: in language, visual culture, labor, architecture, everyday life. His practice alternates between the garage school, autonomous work and teaching. Always in response to where he is, he produces cultural platforms, ephemeral schools and/or installations.
María Angélica Madero, María Angélica Madero this year is getting rid of categories that limit her. She is part of the founding Faculty at the London Interdisciplinary School, where she likes to preach that images are as important as words and numbers. Once she was Head of Art in El Bosque University in Bogota, Colombia. She cares about how to inhabit in a more radical way the present. She mostly works in collectivity.