{"id":5165,"date":"2026-07-09T15:07:50","date_gmt":"2026-07-09T14:07:50","guid":{"rendered":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/?page_id=5165"},"modified":"2026-07-09T15:30:57","modified_gmt":"2026-07-09T14:30:57","slug":"black-waters-july-2026","status":"publish","type":"page","link":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/black-waters-july-2026\/","title":{"rendered":"Black Waters, July 2026"},"content":{"rendered":"\t\t
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where reading meets plasticity \/\/ What I Am Reading Right Now\u2026\u00a0
Black Waters
<\/strong>July 2026<\/p><\/div>

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\u201cthe ceremony must be found<\/em>\u2026 \u201d
– Sylvia Wynter<\/p>

\u00a0\u201csince books write us, rather than us reading them<\/em>\u2026\u201d
– manuel arturo abreu<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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a quiet precondition to the what<\/em> of reading is the how<\/em> one approaches their reach for, or their being with, the text.<\/p>

the epigraphs \u2013 pertaining to the intentions preceding ceremony, a la Sylvia Wynter, and the authorship books have to the iterations of our being and becoming, quoting manuel arturo abreu \u2013 marks enactments of reading in the context of Black Waters, as essential architecture for incubating a collaborative spatial study.<\/p>

invoking texts to establish and anchor the critical scaffolding for practices, while woefully not prolific, has a lot of precedent though it can often enclose theory and attendant poetics in abstract terrain; since books write us<\/em>, how can we call for ceremony as a relational method for interpreting and metabolising meaning, which in turn generates indefinite constellations of knowledge?<\/p>

moving towards the anecdotal, during a residency with David Dale Gallery in 2023 working with contributing player, sculptural and sonic artist bury nella heal, we rehearsed inter-material responses to the provocation of the Black Clyde. with a study concerned with reciprocal and mutative co-production with<\/u> space, the phenomenological implications of text objects as material and compositional players threaded our commitment to citation via Black performance. propelled following a collective watch of Imani Mason Jordan\u2019s performance of Black Drift<\/em>, which threads a poetics of fugitive motion through fragmented citational genealogies of Black scholarship, initiated the ceremony of reading out loud to each other, and in listening, compose poetic collages, to then read aloud in recurring cycles.<\/p>

troubling the textual\/vocal divide through assembled exchanges of orality and aurality opened the text more sonorous qualities, which transmuted its form from a textual object to raw material for aesthetic production within a Black sonic arrangement. the support of mics, pa\u2019s, loop and delay pedals; and the paradigm shifting passages from Jayna Brown\u2019s Black Utopia\u2019s<\/em>, Katherine McKittrick\u2019s Demonic Ground\u2019s<\/em>, Christina Sharpe\u2019s In the Wake<\/em> and Dionne Brand\u2019s A Map to the Door of No Return<\/em>; inside this consortium of amplified, distorted and vibrational text, a rhythmic, vocalised and haptic [vocaptic] passage of reading both swarms and becomes space by way of immersion and ritualistic transmission.<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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\u201cAs forms of knowledge production, they aim distinctly to connect to deeply felt and belief- and memory-related components of human existence and sensation. In short, ranging from more modal to more sensory or somatic, they build worlds<\/strong>.\u201d\u00a0<\/p>

\u2014 manuel arturo abreu<\/p><\/div>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Black Waters\u2019 most recent curatorial project, the debut exhibition Black Waters: Inference to The Veil<\/em> 2026, extended the nuclei of citational performance, in the quiet register of books in display as both art object within a vitrine and, also, referential code as invitation to wider collective study. Amongst the texts that in\/formed the critical body of the show were exhibition publications: Rhea Dhillon: An Alterable Terrain<\/em> and Torkwase Dyson: A Liquid Belonging<\/em>; both texts in their precise, consummate design, intellectual intervention and inquiry enact the nomadicity, the movement, the perceptual, the porous as systems for orientation and \u201cThe collective spatial intelligence of Black refusal as a foundation for transformation.\u201d \u2014 Torkwase Dyson, <\/em>\u201cTorkwase Dyson Reflects on Hyper Shapes\u201d<\/em><\/a>, <\/em>Metropolis Mag, August 26, 2021<\/p>


citations note from \u017b\u017co<\/strong> >> in order to write I need to read, so while the following were not formally listed as suggested readings, with exception to the resource of experience itself, the following was read to guide reflections for this contribution.<\/p>

> Sylvia Wynter\u2019s Aesthetic Continuity and The Creative Act of Decolonial Theory<\/em> – \u00a0manuel arturo abreu<\/p>

> Poetics of Oralitura | Performances of Spiral Time<\/em><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Black Waters<\/strong>
Black Waters – Black Clyde – Blak Rivers is a collaborative, curatorial research incubator and invocation of assembly, assemblage and the ensemble of material, led by Zo\u00eb Zo, Zo\u00eb Tumika & Zo\u00eb Guthrie and \u017b\u017co \/ Zo\u00eb Charlery. This project explores the capacious fields of Black Geography, Black Geology, Meta-Physics, Hauntology and Phenomenology through the a(live) study and practice of Black Performance. Black Waters’ work has been supported by Jerwood Foundation and Glasgow School of Art Exhibitions, David Dale Gallery’s Studio Residency in 2023, and the exhibition, ‘aweys gaun’<\/em>, was part of Glasgow International 2026.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Reading<\/div>
\u00a0<\/div>

The Black Shoals: Offshore Formations of Black and Native Studies<\/em>, Tiffany Lethabo King (Duke University Press, 2019)<\/p>

Land to Light On,<\/em> Dionne Brand (Penguin Random House Canada, 1997)<\/p>

Darkwater: Voices from Within the Veil<\/em>, W E.B. Du Bois (Harcourt, Brace & Howe, American, <\/strong><\/em>1920)<\/p>

Four Theses on Aesthetics<\/em>, Denise Ferreira da Silva and Rizvana Bradley (e-flux journal, Issue #120, 2001)<\/p><\/div>


Listening<\/p>

Journey to Nabta Playa<\/em>, Angel Bat Dawid & Naima Nefertari (Spiritmuse Records, 2025)<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t

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Please note the views published in\u00a0What I am Reading Now…<\/i>\u00a0are personal reflections of the contributors.
These may not necessarily represent the views of the University of Dundee.<\/span><\/p>

\u2014\u2014\u2014<\/span><\/p>

Home<\/a><\/p>

Previous Issue: <\/a>Larry Achiampong, June 2026<\/a>
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about projects where reading meets plasticity \/\/ What I Am Reading Right Now\u2026 Black Waters July 2026 \u201cthe ceremony must be found\u2026 \u201d – Sylvia Wynter \u201csince books write us, rather than us reading them\u2026\u201d – manuel arturo abreu a quiet precondition to the what of reading is the how one approaches their reach for, …<\/p>\n","protected":false},"author":271,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-5165","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/5165","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/users\/271"}],"replies":[{"embeddable":true,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/comments?post=5165"}],"version-history":[{"count":9,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/5165\/revisions"}],"predecessor-version":[{"id":5176,"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/pages\/5165\/revisions\/5176"}],"wp:attachment":[{"href":"https:\/\/sites.dundee.ac.uk\/cooper-gallery-inbetween\/wp-json\/wp\/v2\/media?parent=5165"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}