is the inaugural Director of Artist Programs at the Lunder Institute for American Art at Colby College. She is an interdisciplinary art historian and independent curator. Her thesis concerns the cultural, post-colonial, and material implications of the use of sugar in contemporary art. In 2018, she was the inaugural recipient of the Nicholas Fox Weber curatorial fellowship, affiliated with the Glucksman Museum (Cork, Ireland), as well as a curatorial fellow-in-residence at Art in General (Brooklyn, NY).
Made of linguistic forms and failures: inquiry in times of isolationBy Daisy Desrosiers
Invitée à écrire en Anglais, les idées me viennent en français. (trans.: Invited to write in English, I can only think about the content in French.) I hear in French. I understand sounds in my native (and contracted) French Canadian, with a hint of my fathers French which carries a melodic and grammatically correct French from the Caribbean.
The losses we carry across: an afternoon with Azza El Siddique and Sahar Te
What a slippery and fugitive word translation is. There are so many factors that come up and collide in this way. When I begin to reflect on translation, Im thinking who is doing the translating?
Correspondence in isolation between Daisy Desrosiers and Jesse Chun.
That desire for authoring new modes that reflect the diasporic, non-monolithic condition of language is what drives my interest in translatability. Who is being translated, and for whom?
Marble benches, Anatolian weavers, and Madonnas: Shannon Bool and Daisy Desrosiers
If you work in a really involved way with materials, you inhabit this realm of translation, in a sense, because the preoccupation with material systems stays within these specific languages. You didn’t pick a broad topic that you could put things into. You picked one that has to become a process.