{ "article": { "title" : "Sanyu Nicolas", "author" : "Sanyu Nicolas", "category" : "interviews", "url" : "https://everythingispolitical.com/readings/global-resistance-art-sanyu-nicolas", "date" : "2025-02-04 15:33:00 -0500", "img" : "https://everythingispolitical.com/uploads/sanyu-4.jpg", "excerpt" : "", "content" : "EIP: Your work has layers of queer imagery, erotica and fantasy; do you agree with this sentiment and can you elaborate?SANYU: I absolutely agree. There’s so much beauty and freakish wonder in nature and beyond and that’s what drives the fantasy aspect of my work; melting that which fascinates me together and forming these fantastical moments. A lot of my work explores the beauty and wildness of queer sensuality and sexuality in this kind of shame shedding practice. I think shame serves a purpose in things like community justice and holding people accountable and mitigating harm… but when it comes to sexuality and queer identity, shame can be so paralytic and stifling in self- expression. So I like to push that boundary and depict queer erotica in this pretty and beautiful but sometimes messy and gnarly swell of fantasy.EIP: You do tarot readings, considering that you are a spiritual person; how did that journey crossover with your work ?SANYU: Yeah every Tuesday I try to host what I call Tarot Tuesday where people send in questions to my instagram story and I provide them with a tarot reading. The crossover came sometime after I recognized that my tattoo practice was also a spiritual thing. I’ve spoken in the past about spirit trails and how I think we leave a non-linear impact or imprint throughout existence that affects the energy of spaces. I think this also correlates to the spiritual, conversational and physical experience of tattooing and tarot. I was only a little into tarot at the time that I started and it was mostly a fascination with the imagery of different card decks and it grew to me learning more of the story. I like to think that through tattooing I help others in their journey of self evolution and expression and tarot is a similar kind of helping.EIP: When did you start illustration? Did painting come first? What feels like your passion in the present moment?SANYU: Drawing came first. I started drawing when I was really young. I was a really sick child and diagnosed with Lupus at 8 years old. This was a catalyst of sorts for this intrinsic need to transmute the pain and confusion and so drawing was just an awesome channel for me. Right now my passion is music. I had a music project called Cryptolect some years ago that’s currently evolving into a new project called Tandem Mirror. It’s trippy and triumphant and electronic and I have a deep raspy voice that I’m exploring with. I met a man at a restaurant last year in Boston who got super tearful when he heard me speaking and really urged me to not waste my voice and I think about that a lot. So I’m working on my creative development and confidence to hopefully use this voice. I don’t want to let him down lol but really I don’t want to leave any regrets on the table.EIP: We wanna know your inspiration reference wise, what are some crucial films, photographers and artists who deeply resonate with you?SANYU: I try not to indulge in too much work of other artists and try not to draw too much inspiration because I’ve found that to keep my artistic vision and voice true to myself I need periods of introspection. But I am fascinated by nature, the woods, lava, the ocean and the cosmos.. friends and queer people .. some artists I admire are Octavia Butler, Wangechi Mutu, Silvio Cadelo, Bjork, Imogen Heap, Tracy Chapman, Fiona Apple, Ex:Re, Arca, Fatima Al Qadiri, Caroline Polachek, Florence, my girlfriend Julissa Emile who is a poet..I also like a lot of old black and Arab disco and house music.. also video games like Bloodborne, Disco Elysium, Mass Effect, Deus Ex and anime like Made in Abyss, Serial experiments Lain, Kino’s Journey, Dorohedoro, Genius Party… as far as films something recent I watched that I’m so enamored by is Scavengers Reign. There’s also The Event (short animation), Beasts of the Southern Wild, The Handmaiden, The Shape of Water….. I also really love cartoons like Amphibia, Infinity Train and Summer Camp Island… Honestly the well of admiration is vastEIP: Tell us about your cultural heritage and ancestry, where does it show up in your work and daily practices?SANYU: Most of my family is from Haiti. My mother and father are both from Haiti. Although I was raised catholic I always felt resistant to the imagery and suffocated by the religious dogma. I definitely feel like my Haitian ancestry has some deeply spiritual implications and reverberations. I think it shows up in the ways I shape my spiritual practice without restriction. I take meditative baths and keep an alter. I also like to put positive incantations or affirmations into tattoos (with consent). I do rituals and journal.I’ve been asking myself how to speak on my political views without my thoughts seeming convoluted or confusing but I now realize I just have to speak as I am. The political climate is precarious and confusing and so I think my thoughts reflect that reality. I notice more and more that history is a culmination of progressions and regressions. I know where my moral compass lies and so I’m spending some time understanding the context of all this degenerative backsliding that’s happening.I have insomnia and so for a few nights past I was up until about 4am doing historical analysis and learning about the situation in Syria, researching things like Ba’athism, the Alawites, the resistance… I was looking into France, Britain, Egypt, president Nasser and the Suez Canal. I learned some Palestinian history and Haitian history. I even went so far as the year 622 learning about the ancient city of Yathrib and even further into some Roman Emperor named Hadrian. And this past Haitian Independence Day I did research on Haiti’s history as the first black-led republic to free itself from enslavement and thinking about the fact that they’re still suffering for that.I’ve been thinking a lot about ambivalence and attempting an ambivalent approach to the way I understand the complex political dynamics of the world and history. A pattern I notice amidst some of the convolution is that a lot of deeply complex issues have historically cyclical behaviors. So many political pains of the present have such old seeds. I’m not sure if an ambivalent approach is best because I ask myself if in some ways it indirectly furthers the status quo.The status quo being something that marginalized people are forced to evolve quickly from and to stay ahead of because they’re unable to really exist within it peacefully.How does progress become sustainable without cyclical history marring it back to violence? I think some deeply intersectional and critical conversations are necessary. There needs to be systemic change that takes in to account intersectionality with things like accountability, forgiveness, redemption, race, class, age, gender, sex, sexuality, reparations, technology, biology, climate change…. Everything in tandem and everything overlapping and interdependent… it feels so heavy to talk about especially knowing I don’t have the jurisdiction or credentials to change anything on a higher level but I do have the ability to make changes even if on a smaller scale. Even by existing within the intersections that I exist in. Black, woman, lesbian, artist.Something I’ve been saying to myself is “insistence on my existence is an act of resistance”… even in my day-to-day choices. My spiritual practice, what I read, how I dress, products I buy, the music I listen to, my choice to sing to my plants and hug random trees and my choice to love and date a black woman and uplift black women any chance I get. I believe every day is an opportunity to make a conscious effort. I also believe that it is enough for me to simply exist and every day is an opportunity for me to find rest. My rest is radical too." } , "relatedposts": [ { "title" : "Mamdani & The Era of Possibilities", "author" : "Collis Browne, Céline Semaan, EIP Editors", "category" : "essays", "url" : "https://everythingispolitical.com/readings/mamdani-and-the-era-of-possibilities", "date" : "2026-01-01 12:25:00 -0500", "img" : "https://everythingispolitical.com/uploads/zohran-inauguration-1.jpg", "excerpt" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.", "content" : " What wins elections? Laser focus on challenging the brutal economic oppression that defines our global reality.There is an air of undeniable hope. No matter how hard the knee-jerk catastrophic thinking might try to override with doubt, the moment is hopeful. This is proof of collective power. No matter what comes of it, we are already in a winning moment, because the people of New York city have toppled a dynasty built on greed and corruption. The entire world was inspired by this moment that was made possible by everyday people rallying together. That is how monopoly gets interrupted by people power. It’s not rocket science or AI, it’s sweat, effort, and in person collaboration.Let’s remember why this landslide engagement across political divides, why this excitement from communities and demographics who have never voted, and why this worldwide inspiration from a local election: it is a direct response to Mamdani’s laser focus on challenging the brutal economic oppression that defines our global reality.That is what wins elections; that is what inspires and unites the majority across age, ethnicity, race, and all other factors. Speaking the truth of the crushing economic reality that we live under.So now, resist the urge to follow the media’s double edge sword to fetishize and make individualized mythologies around Mamdani, his wife, the personal and aesthetic choices they are making. But continue to see them simply as people, continue to join forces with them and to remain educated, informed and most importantly not in silo but in community. Realize that we need thousands more like him who have decided that they can make a better mayor than these corrupt relics of the antiquated self-destructive past, and we need millions to always raise them up against those colluding with oligarchic corruption. And when the inevitable “fall from grace” comes, when the “media darling” moment wants to swing the other way and vilify him, resist the urge to jump on and make him any more important than but one human who wanted to make a difference in a dehumanizing system — focus on the system.Resist the urge to join in a culture war, to focus on religion or lifestyle or taste or how we spend our time as non-billionaires, and remain focused on what we can all be doing daily to gather power away from the centers of wealth and exploitation.Resist the urge to isolate in ideals, instead join the messy moment of change by being an active participant in the political spaces you wish existed.The moment calls for more action. This year, 2026, begins a new cycle filled with possibilities and people power. The moment is you. It is now. Continue to be present, be active, and take your place in making the future possible. Being an active part of your world is the antidote to the overwhelming feeling of disempowerment. The ways in which we rise, is through verbs and action. Excited to build with you all internationally and locally here in New York City. Our city." } , { "title" : "Narrative Sovereignty in the American Wing of The Met: Don't Miss ENCODED at the MET", "author" : "", "category" : "", "url" : "https://everythingispolitical.com/readings/narrative-sovereignty-in-the-american-wing-of-the-met", "date" : "2025-12-22 12:58:00 -0500", "img" : "https://everythingispolitical.com/uploads/Cover_EIP_Hidden_Exhibition.jpg", "excerpt" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.", "content" : "As artists and multicultural activists, we did not come to the Metropolitan Museum of Art’s American Wing seeking permission, instead we showed up to the work with intention, responsibility, and a commitment to truth. ENCODED: Change the Story, Change the Future exists because silence is not neutral, presence without agency is insufficient and solidarity across values-based creativity is essential for liberation.The American Wing is often described as a celebration of American art, yet it also functions as a carefully curated archive of colonial mythology and westward expansion propaganda. Its paintings and sculptures rehearse familiar narratives: conquest framed as destiny, extraction framed as progress, whiteness framed as purity, Indigenous absence framed as inevitability. These works are not merely historical artifacts; they are instruments of narrative power. They encode ideas about belonging, legitimacy, and nationhood, ideas that continue to shape cultural consciousness and public policy today. ENCODED intervenes in this institutional space not to negate history, but to complicate it. Using augmented reality, the exhibition overlays Indigenous artistic expression and counter-narratives directly onto famous works in the American Wing, reframing them through Indigenous epistemologies, lived experience, and historical truth. This is not an act of erasure. It is an act of expansion and an overt insistence that American art history is incomplete without Indigenous voice, presence, and critique.At its core, ENCODED is grounded in the principle of narrative sovereignty. Narrative sovereignty asserts that communities most impacted by historical and ongoing harm such as Indigenous peoples, Afro-descendant people, Palestinians, Pacific Islanders, Trans folks and the working class all must have the authority to tell their own stories, in their own words, and within the institutions that have historically excluded or misrepresented them. This is not a symbolic gesture. It is a democratic imperative.Democracy depends on access to truth. When museums present a singular, sanitized vision of history, they do not merely reflect power, they reinforce it. The American Wing has long upheld myths of “taming the West” and the so-called exhaustion of empire, narratives that obscure the violence of settler colonialism, normalize Indigenous dispossession and chattel slavery. ENCODED challenges these myths by making visible what has been omitted: resistance, survival, continuity, solidarity and accountability. For me, I also hope this intervention reflects back to museum goers and viewers the perils of authoritarianism, fascism and ongoing colonial projects such as legacy media consolidation, rapid creation of datacenters to produce AI, cutting access to healthcare, education, rights, or the current US regime’s attempt to erase history by any means necessary.The artists participating in ENCODED are not responding nostalgically to the past. They are engaging the present. Their work examines how colonial narratives persist in contemporary systems including environmental destruction justified by extraction, racial hierarchies reinforced through cultural storytelling, and institutions that benefit from the aesthetics of inclusion while resisting structural change. These are not abstract critiques; they are lived realities and for me deep lessons that have been shaped by having formerly worked at a neocolonial conservation nonprofit ran by wealthy cis wyt men and their enablers for nearly five years.Artistic integrity, in this context, cannot be separated from ethical responsibility. For too long, the art world has upheld a false binary between aesthetics and politics, suggesting that rigor diminishes when artists engage power directly. ENCODED rejects this premise. Integrity is not neutrality. Integrity is the willingness to tell the truth, even when it destabilizes comfort or prestige. Walking with integrity can be painful and takes courage.Importantly, ENCODED is not positioned as a protest staged outside the institution, nor as a request for institutional validation. It is an act of presence with agency. The project uses accessible technology to meet audiences where they are, inviting participation rather than reverence. Viewers scan QR codes and encounter layered narratives that ask them to look again, listen differently, and question inherited assumptions. Except for a few organized tours, the experience is self-guided, decentralized, and deliberately democratic. It’s also fun, and it is so special to hear the familiar sounds from the ENCODED pieces ring throughout the galleries signalling that kin is close by.This kinship network and accessibility is central to the work. Cultural literacy should not be gated by academic language, curatorial authority, white exceptionalism or economic privilege. By operating through personal devices, ENCODED rejects the museum’s traditional hierarchy of knowledge and affirms that interpretation is a shared civic space. The exhibition does not dictate conclusions; it creates conditions for reckoning and deep dialogue.Solidarity is another foundational principle of the project. ENCODED brings together Indigenous artists across nations and disciplines, in relationship with Black, Brown, and allied communities who recognize that colonialism is not a single-issue structure. The logics that dispossessed Indigenous peoples are the same logics that underwrote slavery, environmental exploitation, the seizing of Palestine, forced child mining labor of cobalt in Congo and in general global empire. Working in solidarity does not collapse difference; it honors specificity while resisting division and acknowledging historic patterns of systemic oppression.In a cultural landscape shaped by scarcity and competition, ENCODED models an alternative, one rooted in collective presence, shared resources, and mutual accountability. The project refuses the extractive norms of both empire and the contemporary art economy, offering instead a relational approach grounded in care, collaboration, and long-term impact on community.The decision to situate ENCODED within the American Wing was deliberate. Indigenous art has too often been confined to anthropological contexts or framed as premodern, separate from the narrative of American art. ENCODED asserts what has always been true: Indigenous peoples are not peripheral to American history; we are foundational to it. Our stories do not belong on the margins, nor do they belong solely to the past or through a white gaze.Yet presence without counter-narrative risks assimilation. ENCODED insists that visibility must be accompanied by authorship. By intervening directly within the American Wing, the project challenges the authority of colonial framing and invites institutions to reckon with their role in shaping public memory. Our hope is that eventually the Met will see this as an opportunity to engage in discussion and support its presence well into 2026.There is risk in this work. Naming colonial propaganda within revered institutions invites discomfort, defensiveness, and critique. But risk is inseparable from integrity. Artists and cultural workers are accountable not only to institutions and audiences, but to future generations. The question is not whether institutions will change, but whether artists will continue to lead with courage when they do not.ENCODED is an offering and a provocation. It asks what it means to inherit a cultural legacy and whether we are willing to transform it. Empire is not exhausted; it is contested. And art remains one of the most powerful sites of that contestation. When we change the story, we do change the future. Not through erasure, but through expansion. Not through dominance, but through relationship.Ultimately, ENCODED affirms that art is not merely a reflection of society, but a tool for shaping it and that when artists from the margins claim space at the center, together and with integrity, we open pathways toward a more honest, inclusive, and democratic cultural future. Join us.To access ENCODED review the exhibit website for instructions. While at the Met scan the QR code and click through the prompts for the self guided tour.https://www.encodedatthemet.com" } , { "title" : "The Aesthetics of Atrocity: Lockheed Martin’s Streetwear Pivot", "author" : "Louis Pisano", "category" : "", "url" : "https://everythingispolitical.com/readings/the-aesthetics-of-atrocity", "date" : "2025-12-20 10:30:00 -0500", "img" : "https://everythingispolitical.com/uploads/Cover_EIP_Lockheed_StreetWar.jpg", "excerpt" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.", "content" : "On December 12, The Business of Fashion published an article titled “The Unlikely Rise and Uncertain Future of Lockheed Martin Streetwear,” detailing the world’s largest arms manufacturer’s entrance into casual apparel.Through a licensing deal with South Korea’s Doojin Yanghang Corp., Lockheed turns fighter jet graphics, corporate slogans, and its star logo into gorpcore staples. Oversized outerwear, tactical pants, and advanced synthetic fabrics sell out at Seoul pop-ups like the Hyundai department store with young Korean consumers chasing the edgy, functional vibe. Andy Koh, a Seoul-based content creator, tells BoF that while arms manufacturing is, in theory, political, he has never encountered widespread discomfort among Korean consumers. “As long as it looks cool and the product functions as expected,” he says, “they seem okay with it.”This trend aligns with a broader South Korean fashion phenomenon: licensing logos from global non-fashion brands to create popular streetwear lines. Examples include National Geographic puffers, Yale crewnecks, Kodak retro tees, CNN hoodies, Discovery jackets, Jeep outdoor wear, and university apparel from institutions like Harvard and UCLA. These licensed collections, often featuring media, academia, sports leagues, or adventure themes, have become staples on online retailers like Musinsa and in brick-and-mortar stores, propelled by K-pop influence and a tech-savvy youth market that make these odd crossovers multimillion-dollar successes.Lockheed, however, is categorically different. Its core business is not exploration, education, or journalism. It is industrialized death, and its arrival in fashion forces a reckoning with how far commodification can stretch.Having spent years in the military, maybe I’m the wrong person to critique this. Or maybe I’m exactly the right one. I know what weapons are for, how they’re used, and the human cost they carry. Lockheed manufactures F-16 and F-35 fighter jets, Hellfire missiles, and precision-guided systems that human rights organizations have repeatedly linked to civilian casualties across multiple conflicts. In Yemen, U.S.-supplied weapons incorporating Lockheed technology contributed to thousands of civilian deaths since 2015, most notoriously the 2018 airstrike on a school bus in Saada that killed dozens of children. In Gaza, since October 2023, Lockheed-supplied F-35s and munitions have formed the backbone of air operations that Amnesty International and other watchdogs have flagged for potential violations of international humanitarian law, cases now under examination by the International Court of Justice.In 2024, the company reported $71 billion in revenue, almost entirely from military contracts, with more than 1,100 F-35s already delivered worldwide and production lines running hotter than ever. That staggering scale is the reality lurking beneath a logo now casually printed on everyday apparel.So why does the planet’s largest arms manufacturer license its brand to streetwear? The answer seems to be twofold: easy money and sophisticated image laundering. Licensing delivers low-risk royalties from Korea’s reported $35-40 billion apparel market with virtually no operational headache. Lockheed simply collects checks while a third-party manufacturer handles design, production, distribution, and deals with all the mess of retail.The far more ambitious goal, however, is reputational refurbishment. Doojin deliberately markets the line around “future-oriented technical aesthetics” and “aerospace innovation,” leaning on cutting-edge fabrics to conjure high-tech futurism instead of battlefield carnage. By late 2025, as U.S. favorability in South Korea continued to slide amid trade tensions and regional geopolitical shifts, the brand quietly de-emphasized its American roots, according to Lockheed representatives. The strategy clearly tries to sever the logo from political controversy and plant it firmly in youth culture, where aesthetic appeal routinely outmuscles ethical concern.Lockheed has honed this kind of rebranding for decades. Their corporate brochures overflow with talk of “driving innovation” and “advancing scientific discovery,” spotlighting STEM scholarships, veteran hiring initiatives, and rapid-response disaster aid. The clothing itself carries the same sanitized messaging. One prominent slogan reads “Ensuring those we serve always stay ahead of ready”, euphemistic corporate-speak that sounds heroic until you remember that “those we serve” includes forces deploying Hellfire missiles against civilian targets. Other pieces feature F-35 graphics paired with copy declaring the jet “strengthens national security, enhances global partnerships, and powers economic growth”. It’s textbook PR varnish. Instruments designed for lethal efficiency, now rebranded as symbols of progress and prosperity.We’ve also seen this trick before: Fast fashion brands that slap “sustainable” labels on sweatshop products. Tech giants that fund glamorous art installations while they harvest user data. Oil companies that rebrand themselves as forward-thinking “energy” players as the Earth’s climate burns. Lockheed, though, traffics in something uniquely irreversible: export-grade death. By licensing its identity to apparel, multibillion-dollar arms contracts are reduced to mere intellectual property; civilian casualties dissolved into, simply, background static.In other words, vibes overpower victims. And when those vibes are stamped with the logo of the planet’s preeminent death merchant, resistance feels futile.Gorpcore has always drawn from military surplus for its rugged utility: endless cargo pockets, indestructible nylons, tactical silhouettes born in combat and repurposed for city streets. Brands like Arc’teryx, The North Face, and Supreme mine that heritage for authenticity and performance. After World War II, army fatigues became symbols of genuine rebellion, worn by anti-war protesters as an act of defiance against the establishment. Today, the dynamic threatens to invert entirely. The establishment itself, the world’s preeminent arms dealer, now supplies the “authentic” merchandise, turning subversion into subtle endorsement.Streetwear grew out of skate culture, hip-hop, and grassroots rebellion against mainstream norms. Importing the aesthetics of atrocity risks converting that legacy into compliance, rendering militarism the newest version of mainstream cool. For a generation immersed in filtered feeds and rapid trend cycles, Lockheed’s logo can sit comfortably beside NASA patches or National Geographic emblems, conveniently severed from the charred wreckage in Saada or the devastation in Gaza. Research on “ethical fading” demonstrates how strong visual design can mute moral alarms, a phenomenon intensified in Korea’s hyper-trendy ecosystem, where mandatory military service may further desensitize young consumers to defense branding while K-pop’s global engine drives relentless consumption.If the line proves durable, escalation feels inevitable. Palantir, another cornerstone of the defense-tech world, has already gone there, hyping limited merch drops that sell out in hours: $99 athletic shorts stamped “PLTR—TECH,” $119 nylon totes, hoodies emblazoned with CEO Alex Karp’s likeness or slogans about “dominating” threats. What’s to stop Northrop Grumman from launching its own techwear line? Or BAE Systems from dropping high-end collaborations?Lockheed already licenses merchandise worldwide through various agencies; broader international rollouts beyond Korea seem only a matter of time. Backlash is possible, boycotts from ethically minded buyers, perhaps even regulatory scrutiny as anti-militarism sentiment swells. Gorpcore’s longstanding flirtation with military aesthetics could calcify into outright fetish, obliterating whatever daylight remained between practical function and state-sanctioned propaganda.Yet, history suggests that in oversaturated markets, “cool” almost always trumps conscience. Lockheed’s streetwear pivot is a stark illustration of how fashion and culture launder raw power, enabling the machinery of war to conceal itself among hype, hoodies, and sold-out drops." } ] }