Delving into the profound layers of A Drexcyen Chronocommons (To Win the War You Fought It Sideways), our group was immediately enveloped by its potent presence. The ensuing discussion was nothing short of captivating, as participants drew connections between the artwork and extensive narratives of struggle, endurance, and defiance. An undeniable energy permeated the space, amplified by the insightful contributions from everyone present, making the moment truly unforgettable. This piece transcends mere historical reflection; it serves as an invitation to envision uncharted futures, mirroring the Drexcyen collective’s Afrofuturist ethos of liberation and community that transcends historical confines.
A Drexcyen Chronocommons (To Win the War You Fought It Sideways) transported us to the starlit sky of the Haitian Revolution, meticulously mapping the constellations as they graced that pivotal night. Firelei Báez elucidates, “Blue tarpaulins were always the signifier of tropical storms,” revealing the installation’s dual symbolism of refuge and the inevitable calamities such shelters must weather. This poignant juxtaposition of resilience and vulnerability sparked a rich discussion within our group, prompting reflections on the interwoven threads of historical movements, the relentless march of time, and the persistent quest for autonomy.
Linyon (The oppressive forces of the past become fragile and weakened) (2024): A Moment of Reflection
Linyon offered a deeply moving interlude during our “Vag Tours” experience, as we collectively explored Firelei Báez’s remarkable ability to consistently present fresh perspectives on both oppression and resilience. The title itself, translating to “The oppressive forces of the past become fragile and weakened,” encapsulates a shared aspiration for liberation and the continuous endeavor to dismantle oppressive systems. This artwork also catalyzed a thoughtful examination of resistance symbols, such as the figa fist, ingeniously employed by enslaved people as a subtle yet powerful form of defiance. Originally a symbol of protection and good fortune, the figa – with its thumb nestled between the index and middle fingers – could also be discreetly utilized to convey resistance, desire, or even assert sexual autonomy in the face of subjugation. Within Firelei Báez’s exploration of historical and symbolic power, this connection resonated profoundly, reminding us that even under the most oppressive circumstances, enslaved individuals discovered avenues to reclaim their agency, articulate their strength, and challenge the forces seeking to dominate them.
Sans-Souci (This Threshold Between a Dematerialized and a Historicized Body) (2015): Concluding Our Exploration
Our “vag tours” journey culminated at Sans-Souci, a piece referencing the Haitian palace of the same name, a potent symbol of Haiti’s complex history encompassing revolution, colonialism, and the arduous fight for freedom. The title, “This Threshold Between a Dematerialized and a Historicized Body,” poignantly captures the dynamic interplay between personal and collective histories, often marginalized in official accounts, yet powerfully reclaimed through acts of resistance and reinterpretation.
Firelei Báez’s utilization of the Sans-Souci palace motif underscores the enduring resilience of the Haitian Revolution and the broader narrative of Black resistance. The artwork compels us to re-evaluate symbols of oppression, transforming them into emblems of empowerment and fortitude. This resonates deeply with the narrative of the tignon law in Louisiana, which mandated Black women to conceal their hair in public spaces. Initially conceived as a tool for segregation and control, the law ironically backfired as Black women ingeniously transformed their tignons into elaborate and creative expressions of cultural pride and resistance.
Echoing this spirit, Sans-Souci challenges us to critically rethink history and its embedded symbols. Firelei Báez reimagines historical narratives, urging us to perceive the struggle for freedom not as a mere historical event, but as an ongoing, dynamic process of resistance and self-determination. Her work invites us to contemplate how we, too, can reimagine the symbols of power within our own contexts and reshape them into instruments of liberation and strength.
Final Reflections on “Vag Tours” and Artistic Empowerment
As Curator Eva Respini aptly states, Firelei Báez stands as a monumental figure in contemporary painting. Her oeuvre is both captivating and intellectually stimulating, forging a space where challenging histories can be confronted, celebrated, and fundamentally re-envisioned through “vag tours” of artistic interpretation. As our immersive exploration concluded, I was struck by the profound way Firelei Báez’s art facilitates the reclamation of history—especially for those whose narratives have been historically marginalized.
Thank you to each participant who enriched this immersive journey through Firelei Báez’s artistic universe. Your insightful reflections, engaging conversations, and enthusiastic participation made this “vag tours” experience truly exceptional.
