May 24, 2019
I am so excited to announce the rebrand of Tazuri Projects. 👋🏼🎉
Instead of continuously being critical, I thought I should be part of the active conversation.
The goal of Tazuri Projects is still the same – to spark further opportunities, discussions, and collaborations for artists-of-color in meaningful and genuine ways. We will always continue to champion artists-of-color, only now fully conscious of the pivotal role money plays.
Don’t @ me if this isn’t for you – there are plenty of other spaces. I wish you all the blessings on your journey.
This is not about a negation of certain groups but rather providing a platform for artists at the intersection of certain gender, race, and identity with a wider audience of those who wish to actively support them.
In the second chapter of Algerian writer Assia Djebar’s novel Fantasia: An Algerian Cavalcade the narrator describes the first battles in the French conquest of Algeria in the 1800s. The narrator’s descriptions in this section are based on actual historical accounts. Djebar makes it a point to tell the reader where she gets her information. There were no written accounts of those first battles by Algerians – all of her information comes from two French colonial records. The fact is that a lot of colonial history comes down through the colonizers, those who actually had the power to write and immortalize the records, not the colonized.
Overcoming those access points, that narrative, and contextualizing the effects of those historical gatekeepers is our focus at Tazuri Projects.
This feeds into the idea of the platform’s tagline – you never had the full story. 💯
Gatekeeping is going to be so damn interesting once people start really playing around with the potential of technology.
So let’s talk details: Tazuri Projects is emerging as a different kind of gallery space. We exist online, with the exception of participating in temporary exhibitions and events. We are here to help artists sell their art, full stop. We also act as a platform for sharing resources and opportunities. Lastly, there will be regular reviews and articles riddled with either expletives and gifs, maybe both…
The platform has expanded to accommodate the truth that artists need rent and bread money too, and figuring out ways to make that happen. Money is power. In the notorious words of the Wu-Tang Clan “cash rules everything around me.”
Technology expands the idea of “access” through the magic that is the world wide web.
Tazuri Project is just one example of the digital version of the folding chair Shirley Chisholm had to drag around her entire political career.
We’re part of a growing community that celebrates diversity in the art world and more inclusivity across the board. More importantly, we’re actively championing and focusing on those who for a long time were overlooked, undervalued, or tokenized.
We also believe in putting our money where our mouth is; this isn’t trendy diversity talk. We believe in the power of the tribe; and getting them when they’re young. Of Tazuri’s annual profits, 5% will be donated to Curated x Kai, a crucial, game-changing platform in the area of inclusive representation. Their focus is on making quality education accessible by leveraging VR to deliver culturally relevant learning opportunities for students and young adults, with a focus on genuine representation in those spaces. It takes a community.
The future is coming – and it’s both diverse and digital.