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✸ANNOUNCEMENT Space Eraser, Place Eraser 2021

Part of Proximity, 2014-2022. Hand/measuring-star printed, hand/measuring-star made, signed 17PDT or 18PST with Category 5.

✸INTERVIEW With Jamillah James. 2021

H.W.L.. Read: https://www.theicala.org/en/yellow-pages/jamillah-james/sid-duenas

INA—Moonlight monochrome the gangs i ga’chong-hu the see more kolor brown fanihi star.

✸ANNOUNCEMENT Curving Earth—Short films, Readings and Discussion at ICA LA. April 22, 2021

The program includes "Magellan Doesn't Live Here" by Mariquita “Micki” Davis, a CHamoru multimedia artist, and Re-Millenium Voyage 2000-2017 by Sid M. Duenas, and other works by the artists and Dr. Vicente M. Diaz, an interdisciplinary scholar who specializes in critical indigenous studies in North America and the Pacific Ocean region. Watch: https://youtu.be/a7Z8QExNwV8

INA—Making, writing included, as supplement.

INA—Find. Hold. Lose. Retrieve. Re-do.



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✸RESIDENCY Institute of Contemporary Art, Los Angeles. Mar. 22 - May 1, 2020

. . . despite the collapsing together of divided elements for the purpose of accurate description, an incomplete image as temporary entity is briefly apprehended instead. The sprawling duration-silhouette makes clear that the conical shadow of Earth and the Belt of Venus—distinctions in motion—are bound by vast and volatile space . . .



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Wearing night still. From the water a.m. fisherman. There and through fog tree low fire. One day Bill & Candy’s dad. There became medicine. Coconut oil on wrist on neck. That fish must be cooked on the ground. And senot’s hand shadowing clear today onto crabs moving sand, my head. Set behind an eye especially the flying talaya. Terror of Easter Rabbit. Tall grass to Rowena’s. Tan Ana’s tree. The bird egg and the Big Wheel. To the first cold rain 6000 miles away. These events pressed. Red clay. The shine of beer bottles tipping. Basalt containing every make-it-right within the scent of pepper leaf. Tides two-ing a friend-form smiling in District 4. Where the channel traded a speargun for just a few of his breaths, not enough to drown. And introduced to the black & white photo that survived only in his hair. He knew me as a child. I spoke differently then.

✸ANNOUNCEMENT Brian Fuata, Mountains dissolved (ext. 1-2). Nov. 25, 2020 at fg-ce.info

Spiral image-stage-studio-floor and [ha ah] between salts in solution there is “this is not a hand, this is a library” this is not just so middle an off-ing force together and reading I am pleased to announce . . .

✸RESIDENCY Pasifika Transmissions at PIEAM, October 2020

Pasifika Transmissions is a monthly distance learning series that will invite indigenous artists in our community to visit the archives and develop a video “transmission” geared toward our K-12 audience and their families. Pasifika Transmissions presented by Pacific Island Ethnic Art Museum (Long Beach, California). Fran Lujan: Curator/Museum Director, Mariquita "Micki" Davis: Co-curator/producer: Mariquita "Micki" Davis, Eseel Borlasa: Publicist

✸ANNOUNCEMENT Dan Taulapapa McMullin, A Queer Gray Theirstory of Polynesia. Oct. 17, 2020 at fg-ce.info

Either spark on-&-off dust the body pause bright text and ankles at times their chorus by night by day strikethrough. I am pleased to announce . . .


OILY constellation short not sung girl go-boy with inward y say the callers carry their debt under palapala sky. tins of food and 12 packs glow cosmic caller-debtor-girl-boy-eraser. kelaguen star descends a line to titiyas, shrimp patty, eating-hand aligns with apigigi bbq horizon. light into a kind of light and so on but only the giver’s debt is fixed

✸ANNOUNCEMENT Mariquita Micki Davis, Gapotulu as Portal. July 30, 2020 at fg-ce.info

Hair strand star course lightsong, upside-down wave turn paginated constellation. The diurnal carry-on luggage sentence, warmly glitched through airport loudspeaker. I-am-pl-eased alll da wayyy over the green flash to announce . . .

✸RECOGNITION Rosa Reyes Duenas Spirit Prize, May 30, 2020

Awarded to Taotao Songi for work that consisits of three parts. Please sit, InspacespacespaceFrom night. We are not InnightnightnightFrom darkness enough! TothreepersonthirdpersonpowerpowerpowerIn first-light-still-&-rapid. Please talisay (or almonds) in pocket this familial ceremony-&-enabling grant commemorate darkdarkdarkspacespacespace and beginnings.

✸ANNOUNCEMENT Sssuper Nulu releases Bad Reception, March 2020

INA—Present only in its reversion to the front-before.

✸NEWS Chetton

✸GROUP Off the Wall, June 1, 2019, Armory Center for the Arts Pasadena

ARTISTS: Kim Abeles, Edgar Arceneaux, Carmen Argote, Sara Kathryn Arledge, Susu Attar, Judie Bamber, Whitney Bedford, Sigrid Burton, Cassils, Marta Chaffee, Diane Christiansen, Andrea Chung, Robbie Conal, Sid M. Duenas, Connor Everts, Fallen Fruit, Steve Galloway , Jill Giegerich, Joel Glassman, Sherin Guirguis, Al Held, Robert Hilton, Jessie Homer French, Chris Kallmyer, Matsumi Kanemitsu, Farrah Karapetian, Soo Kim, Alice Könitz, Hirokazu Kosaka, Rockne Krebs, laub, Charles Long, Patrick Martinez, Steve Mayerson, Nicole Miller, Justin Moore, Amitis Motevalli, Oliver Nowlin, Chris Oliveria, Michael Parker, Luciano Perna, Paul Pescador, Nancy Popp, Susan Rankaitis, Vicente Razo, Herb Ritts, Ed Ruscha, Alison Saar, Analia Saban, Connie Samaras, Raymond Saunders, Richard Serra, Sister Frances Shimotsuma, Susan Silton, Henry Taylor, Neal Taylor, Devon Tsuno, Sadao Uetani, LaMonte Westmoreland, Brian Wills, Kim Zumpfe.


Daytime  mwarmwar boat story shiny head and heavy plumeria convulsing stomach tightening throats tear after tear everyone squeezing at the picnic table here sweet mosquito coil cherry-re time and Ofeng’s marijuana aluminum foil on light bulb tonight illegal bat and turtle from a friend of a friend shadow out of a tree dog dancing dead man and his refrigerator pressing peppers to the top of his mouth in the tall deer catching razor grass the front-people spit city boy burning remember whiskey from belly to spine half circle nerve attack soothed with coral limestone and banana leaf thank my auntie pay-your-bills

✸GROUP Allan Kaprow/Words, April 6-25, 2019, Converso, Milano, Italy

ARTISTS: Mitchell Anderson, Michel Auder, Marie Auvity, Laetitia Badaut Haussmann, Mark Barrow & Sarah Parke, Tenzing Barshee, Alessandro Bava, Julie Beaufils, Will Benedict, Judith Bernstein, Jonathan Binet, Christopher Bollen, Edoardo Bonaspetti, Jennifer Bornstein, Julie Boukobza, Francesca Brusa, Katarina Burin, Marin Buschel, Victoria Cabello, Alessandro Carano, Xinyi Cheng, Mieke Chew, Tyler Coburn, James Crump, Michele D’Aurizio, Anna Daneri, Adrian Dannatt, Kamran Diba, Leah Dieterich, Sid M. Duenas, Paula Dykstra Bettina Funcke, Alexander Galán, Jeanne Graff, Joseph Grigely, Mark Harris, Rachel Harrison, Martin Hatebur, Lena Henke, Karl Holmqvist, Jonathan Horowitz, John Houck, Peter Huttinger, Ana Iwataki, Hadrien Jacquelet, Kai-Isaiah Jamal, Jenny Jaskey, Charlie Jeffery, Tony Just, Stefan Kalmár, Matt Keegan, Young Kim, Henning Kober, Agnieszka Kurant, Martin Laborde, Ann Lauterbach, Lykke Li, Massimiliano Locatelli, Jason Loebs, Vicki Mansoor, Karen Marta, Pierre-Alexandre Mateos & Charles Teyssou, Marie Matusz, Molly Caro May, Sarah McCrory, Ryan McNamara, Ingo Niermann, Hans Ulrich Obrist, Joel Otterson, Maureen Paley, Marco Paltrinieri, Riccardo Paratore, Philippe Parreno, Thymaya Payne, Baptiste Pinteaux, Gea Politi, Rob Pruitt, Asad Raza, Noushin Redjaian, Cédric Rivrain, Allen Ruppersberg, Ronnie Sassoon, Matt Saunders, Eric Shiner, Amy Sillman, Sue Spaid, Tommaso Speretta, Christabel Stewart, Michael Stipe, Davide Stucchi, Studio for Propositional Cinema, Emily Sundblad, Kate Sutton, Catherine Taft, Benjamin Thorel, Rirkrit Tiravanija, Nicolas Tremblay, Frederic Tuten, Philip Ursprung, Jill Van Epps, Marion Vasseur-Raluy, Philippe Vergne, Artie Vierkant, Amy Vogel, Claire Wilcox, Jake Wotherspoon, Mia Wotherspoon, Linda Yablonsky, Simon Zoric


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✸GROUP Mandujano/Cell & Field Projects, Feb 7-10, 2019, Material Art Fair, CDMX

ARTISTS: Juan Capistran, Sid M. Duenas, Rochele Gomez, Hazel Mandujano, Alex Sanchez.

→EMBED Oil I.O. Flower I.A.

W.L.O., P.R.N.

✸FOUNDING Chalan Kiya Evidentiary Prize, 2019

Awarded to Taotao Songi that produces a work on-location or in reference to Chalan Kiya.

Writing, which includes reading, may privilege the stability of the mark but the textual recording, however important its function as a choral opportunity for disparately timed readers, is deeply contrasted to a fishing trip glimmer fish below caught a dozen at least yet hardly the amount in blue.

✸ONGOING Lodging recent events 2018-2022

R. straightens into a stance that indicates the work day is complete. A fly loops just out of range. Where’s the dog with the hanging mouth. Pencils in a can with screwdrivers. Years before: a picnic taaable at beaaach, neaaarer to R. pressed into the sand, coals. R. pictures picnic chicken and titiyas on the taaable behind the store, then, neaaarer still, the swept wood of the floor at grandmother’s house in nearby island R. taaakes a few steps into the red mud, goes over to the tin house and opens the laaaundry maaachine R. shifts the towels from the unbalanced load back to even spinning weight, leaaans over aaand, in order to see the sides of the wasssher barrel better, pulls socks aaa little further out of the maaachine. Aaafter looking aaa little longer, R. realizes short breaaathing and remembers whaaat waaas saaaid the daaay before, faaarm aaarms close to R. light clothing, old haaands perspiring aaand aaas if motioning a fly aaaway from R. body, the recollection dropping like a fruit baaat behind aaa palm in aaa night of interrupted sleep— probaaably holding a sheet of paaaper between R. mango tree and old hands. R.mixes inward at the first glimmer of morning light on the shovel haaandle. Then in order to continue reaaading the paaage without straaaining R. eyes. R. blurry profile in full sun. In the gloss R. organizes R. appointments: consultations and treatments. The paaaper is mysteriously doubled, the size of the sheet of paaaper, aaand shows the creaaases where it haaas been collapsed into a curving, horizon over horizon over horizon. Then, holding the sheet in one haaand, R. raises a hankerchief to wave, moves toward the laundry machines (neaaar the palapala, aaagaaainst the cement column sepaaaraaating the gloss and the young plants) and sits down in front of the gloss from which R. removes another sheet of thin paaaper—similar to the first, empty again. R. invites an inter-island visitor into the house,

then, aaafter aaa bead of sweat falls R. sits, the palms move. There is more to do tomorrow. R. leans with intention, pressing R. flat feet at edge of cement foundation in order to begin writing: Explosively flowered delimitations they were also linked to the global anti-colonial kind of type visible to a continuous landscape this initially subordinated what was in effect the structure of groups internal mounting of similar frameworks and respective subjections emancipation boom boom on the other hand to examine and question old concepts complete perception though it may not be obvious would have a major impact on the first phenomena. In the long run the special contribution to explosively flowered delimitations they were also linked to the global anti-colonial visible to another landscape this initially subordinated boom boom boom what was in effect the structure of groups internal mounting of similar frameworks and respective subjections background to emancipation on the ambient hand to complete is such an ill-distribution of perception though it may not be obvious would have a major impact on the first phenomena. Non-discourse on viewers absent and boom leading no-presence form on departure of viewer-reader not getting exposed in material events like an abstract painting unfolding may be a thing playing parentheses speech or even that is not easily recognizable or great whole mysterious joining with a boundary in frequent discussions or mysterious if you were can see a natural occurrence and appreciated and I completely understand it. Taking away the definite article to the world as anti-songi making a leap. baba-writing non-writing may have done wonders in giving the absent presence the notion in terms however admitting counter-movement rather than poses the following limitation should have been so imaginative power the possibility of making visible on who’s terms must be fitted into the pool the symbology in completely different attempt at non-poetry to unfix the similar level of a songi psyche that both left pushing western thought viewed by any strong case refused for some kind another landscape can provide us with the answer to the range across diaspora. In turn to the failure complete multilayer soundbeds of repeating and emerging over that of the other since in the case of the latter as the global issue had also allow the kindest portrait to market their release their mistaken group could unfold the possibilities where it was at that moment a critique of the critique to open the possibility of what a position confusing the idea because the form may work as praxis pessimism boom boom boom emerging fixing impact and capacity and fascination to a specific and general act-form-territory. To fix oneself fixing against the erosion of two directions of increasing capacity and the other direction toward as far as hands and feet can reach because within the close elongating air borrowing confines of historical reality of taking life out of ultimately the universe articulating will and the not working out of long question for instance return the shifting tides but writings over here like a chief example of the non-obvious.

INA—Chamoru grammar changes the noun snow to a verb: snow-no. The modified verb is followed by lagu: an oceanward directional term denoting either west in Saipan, or north in Luta and Guahan. To even further distance from its literal translation—snowing oceanward—the unusual coupling of the two terms ebbs internally, diminishing snow and snowing to highlight instead, action through Chamoru grammatical modification. Snowno Lagu is interpreted as action ocean; a description for an MHYU that produces energetic placement for Sssuper Nulu, Anineng, FG/CE .