Remember the Future, a podcast by ART.COOP
Art.coop invites listeners to Remember the Future together by listening to the stories of artists and culture bearers who know that the practices of the Solidarity Economy are not some new technology, but actually are ways of being in relationship with people and planet that are as old as time. They are our ancestral practices. In this series listeners learn: You don’t have to be a starving artist or a sell out. You can find work where you joyfully live your values and pay the bills. We meet QTBIPOC creatives who are firing their bosses, freeing the land, electing themselves, and building livelihoods based on care, cooperation, mutual aid, and solidarity.
Remember the Future, a podcast by ART.COOP
Reimagining Redistribution: When Artists Resource Eachother and Re-create the Supply Chain
What does it mean for philanthropy to exist in relationship to the solidarity economy? What if artists led a redistribution effort to resource arts collectives?
In this final episode of Remember the Future Season 2, Marina speaks with Art.coop organizer and Remember the Future Fellowship co-lead, Sruti. They discuss the work of three fellows, Acres of Ancestry, Ohketeau Cultural Center, and who weren’t able to join the podcast for individual conversations, Marina and Sruti explore how three innovative artist collectives are building solidarity economies, resisting oppression, and creating transformative cultural work through cooperative practices. Sruti also reflects on the learnings from the pilot year of the Remember the Future Fellowship and what we can look forward to next year.
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Links and resources mentioned in this episode:
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Remember the Future Podcast Season 2
Episode 5:
Featuring:
Sruti Suryanarayanan: Artist Organizer with Art.coop and co-lead of the Remember the Future Fellowship
Marina Lopez: Host
[Music - Hot Springs by Andile Blessing Magwaza and Sizwe Lancelot Mbelu]
Sruti:
What does it mean for philanthropy to exist in in relationship to the Solidarity Economy? And as Art.coop grew, suddenly, we realized that we have money that we can move and so what does it look like for us to do that? Well, it looks like understanding that we need to welcome space for feedback.
Introduction:
We are your host, Ebony, Gustave and and Marina Lopez. Hello and welcome to remember the future, a podcast from art.co op where we invite you to remember the future by listening to the stories of artists collectivizing to build community and care centered models using practices that are as old as time. In this season, you'll learn from our remember the future fellows who are embodying what it looks like for musicians, artisans, media producers and cultural preservationists to cooperatively own their work rooted in solidarity economy principles.
Marina:
In today's episode, I speak with my colleague, Srutii to learn a bit about three other Remember the Future Fellows who weren't able to join us for individual episodes, but whose work we really wanted to share with you. Sruti shares about the beautiful ways that Acres of Ancestry is reimagining and creating the whole supply chain from seed to basket, and how they're building a network founded on trust and reciprocity, comprised of nonprofits, cooperatives, collectives and individuals, or how Ohketeau Cultural Center's mobile story gathering project into the circle is traveling to neighboring Indigenous lands and communities seeking to understand the impacts of colonization, what decolonization means to their tribe and what solidarity efforts feel either aligned or in tension with them. It's through this learning of their stories and their lived experience that they're then informing what kind of theater they're producing and what kind of programming they're offering, things like regalia workshops or workshops for youth. They're trying to understand what will best benefit their community and their neighbors. And Question Culture an abolitionist feminist arts label cooperatively creates work that centers stories of abolition, like their Netflix documentary that they produced, Songs from the Hole and they recognize that how you do the work can be just as transformative as the work you create, understanding the ways that tension and disagreement can be a really generative part of the process when it's met with a care centered willingness to work through it. And that building the Solidarity Economy, art making and being human are interwoven. Sruti also shares what we as Art.coop have learned from the pilot year of our Remember the Future Fellowship and what we can look forward to for next year.
Marina:
Hello Srutii. Welcome back! Here we are today for our final episode of Remember the Future Season Two. You, Ebony and I had the chance to talk for the first episode of the podcast where we got into a little bit around what the Remember the Future Fellowship is, your vision for it. And then Ebony got to go a little bit deeper in separate episodes with three of the fellows, MeansTV, Groupmuse and Artisans Cooperative. Now, here we are, seven months into this rise of fascism, this current regime, and more than ever, it's really clear that artists do play a role in not only resisting these systems of oppression, but also to create the worlds we want. So as we get started today, I would love if you could share a little bit more about the three other groups in the fellowship who are doing just that work.
Sruti:
Yeah, it's a pleasure to be back and to talk about, Remember the Future Fellowship and our amazing fellows. I think the theme that I've been really picking up in speaking to everyone over the past almost year now is, is this balance of hope and also critical, you know, analysis of the world around us. It's really easy and natural to be cynical when we face the world as it is right now. And the most important thing when you're surrounded by that cynicism, as our fellows have shown us, is to not just, you know, to dream and to hope, though those are important, but to actually practice what the world you want is going to be right. We don't need to wait for that new world. The government's shown us that it's not going to help us make that new world. It might try and squash it. So we got to, we got to do that work. And I think one of the things that I've really, really taken into heart from our Fellows is that there are so many different ways that you can pour into yourself, right? You can pour into the community when you're dealing with this overt, violent, explicit threat to life, democracy, solidarity. And the fellows that Ebony has spoken with, they offer three interesting models, right? Most of them are or cooperatives are registered as co-ops. But the three groups that I want to make sure that we also highlight have an interesting addition to this, which I think, as we've seen the attacks on the nonprofit ecosystem, we're reminded that, you know, we have had a lot of different ways in which we have resisted the Right, resisted fascism. And co-ops are an amazing resource, an amazing tool in one structure that we can look to, but there are other sources and other models in which we can practice democracy, in which, through which we can build the new world that we want. And I mean, I think the group that really exemplifies this is Acres of Ancestry, and they are committed to building a Black land Commons, and they are a member of a cooperative ecosystem. They want to sustain a cooperative ecosystem, but they themselves are organized currently as a nonprofit entity, and so this means that they can really think about what land stewardship can look like in transition, right from the worlds that we live in now to the world that we want and will create and are creating. Challenging this, you know, siloed art world where organizations don't really collaborate with each other, and especially don't collaborate with organizations that have different structural practices - cooperativism, of being in a cooperative, of being collective. What Acres does is they partner with these groups, and they're trying to build a new world, which rather than deprioritizing collaboration, rather than penalizing collaboration and removing Black people, agricultural craft, traditional craft and the south from our worlds, centers the community and is led by with and for everyone who wants the world that we wanted to bring forth. And I think that one of the things that Acres has also exemplified is that when we present an alternative today right to the dominant extractive art world in the form that Acres of Ancestry does, for example, we are giving artists the tools and the power to say there are other spaces that I can tap into. I don't need to go to a museum that is going to purchase a piece of my art for two grand when I know that there is an arts organization that is in relationship with not only me, not only my community, but also the land that's also paying me more and inviting me in to think about how my art can live beyond my lifetime. There's some amazing work that they've done down in Mount Pleasant, where one of the things that Tracy, who is a representative from Acres of Ancestry, has said is that instead of giving one person, you know, money to make a couple of baskets, we give him thousands of dollars to grow what he needs, the sweet grass that he needs to make so many of those baskets. And what that is, is cementing our future ancestors. And when we see that right when, then, when somebody goes up and tries to offer Corey, you know, one hundred bucks to do something, be like, No, heck no. And Acres can be like, Look at us. You know, we've got the voices that the support of our community to do that. And I like to maybe one last thing that I'll say is that Tracy thinks that this is possible because, you know, we live in a maroonage where you're building connections, really a network, right? And that's what Acres is doing, between nonprofits, between co-ops, between, collectives, between individuals where there is reciprocity, guaranteed, no question about that, and necessarily because of that, trust, democracy, liberation,
Marina:
Wow. What an incredible vision. It made me think too of like how they're thinking beyond just the immediate creation of something, but really reimagining and recreating the whole supply chain of how art and cultural products or cultural materials are made. From the stewardship of the land, how the materials are grown. who's growing those things, how, how they have access to those materials, and then what they're creating from them. That's such an incredible Yeah, I love the breadth and the depth that that vision brings you into.
Sruti:
And I think it's, I mean, that depth and that breadth, it's, it's not something that Acres is alone in thinking about, right? And I'm what you would have heard in Ebony's episodes is that same way of thinking, right about the present and the future at the same time. And another one of our fellows, Ohketeau, also embodies that kind of simultaneous thinking, right? Ohketeau has been a really crucial member of the Solidarity Economy movement for a really long time. Most importantly, because they're a native founded, native run Cultural Center, I think, one of the only ones in the country. And they have been in deep relationship with and, indeed probing with partners to think about what land back looks like right now and into the future, right? Not talking about, you know, it's, it's the Eve Tuck phrase, right? Its land back is not a metaphor. Decolonization is not a metaphor. And Ohketeau shows that not only is it not a metaphor, it's not something that's going to happen 10 years from now, 100 years from now. It's happening right now, and it happens when organizations are in deep relationship with the original stewards from whom land was stolen that they're currently occupying. And Ohketeau is based right now in Nipmuc land. But you know, they are also like Acres, you know, engaged in kind of a constellation type of organizing where, especially with their neighboring Wampanoag and Mashpee tribal neighbors, building relationships where they can actually practice land back today. And I think one of the things that we can think about in terms of, you know, while a lot of Ohketeau’s work is focused on on theater making and on Indigenous crafts, all of it is focused on activism and really highlighting that, you know, like we say, remember the future, like Indigenous communities have been doing this for a really long time, and their practices of resistance have been removed from the mainstream as a way of deleting them from the archive. And Ohketeau was trying to prompt us to remember the centrality of all Indigenous artists in this and specifically calling on Nipmuc tradition, since they're on Nipmuc land. I mean, there's two things that I was talking to two folks from Ohketeau this this morning, Jasmine and Reigna and they were talking about how one of the things that they've really enjoyed is thinking about accessibility of that image, right? And how we think about, you know, where I went to school, Indigenous traditions, specifically the Lenape people where I grew up, were monumentalized and put in stone, right? They weren't thought of as living practices. They weren't thought of as people that we could be in relationship with, the people that we needed to be in relationship. And that is what Ohketeau to is really challenging when it comes to how non Indigenous people are in relationship with Indigenous peoples. But they're also thinking about how various tribes interact with each other. There's this amazing program that they're workshopping called Into the Circle, where they are taking, essentially a mobile storytelling machine, around to all of their partners in different like on different neighboring Indigenous lands and in Indigenous communities, where people can talk with other Indigenous peoples about what decolonization looks like for their tribe, what the impact of colonization was on their tribe then to now, and what sorts of solidarities they are seeing a bubble and in friction with each other, so that there is a more nuanced way that Ohketeau can then produce theater, regalia, workshops, youth programming, cultural. A work really, that is in alignment with all of the needs of the land back movement.
Marina:
Wow, that's so incredible to hear more about the work of Ohketeau. We I got to do an episode with them in season one of Remember the Future, where they really delved into how their how Ohketeau Cultural Center came to be through the deep relationship with Double Edge Theatre who actually returned the land to them. And so if you're interested in in the like the slow trust building work, but that can happen in our lifetime as well. That's a great episode with Carlos Uriona and Rhonda Anderson. So I just wanted to plug that.
Sruti:
Great episode. Yeah, and it's worth noting that just I think this within the past couple months, because of the support that they got from Double Edge Theatre, Ohketeau is now their own 501c3, like, they no longer need a fiscal sponsor. They have started to, you know, broaden their staff base. It's, it's a pretty exciting time. And to your point, Marina about, you know, like the trust that is necessary to build an organization is like, you know, this is, it might feel like a real segue, segue, but I genuinely think that Question Culture, the other fellow, the final fellow that I'll mention in this is, in this episode, is really emblematic of, like, what it means to work through friction, right? Like, so this is they are an arts label collective. They organize cooperatively. Grounded in activism, but most importantly, they're abolitionists, right? They're abolitionist feminists, and so, yes, right,they're producing stuff like amazing music, which maybe we can put in the podcast notes, links to Fera’s new album and the original stuff from Mateo and from Richie. They also produced an amazing documentary called Songs from the Hole with JJ’88 they're making clothing. They're making all kinds of cultural products, but underneath all of that is this commitment to abolition. So the music, the movies, the clothes, are about abolition, abolition at the at the surface, but also underneath. And what I mean by underneath is how those products are made, how those products are put into the ecosystem. And it's, it's not easy work, right? I think that like, what the amazing team at Question Culture has shown us is that like conflict and tension happens, it is a reality of collaboration, right? But if we want to build the world that we want, if we are building the worlds that we deserve, we need to be able to work through the small moments of, you know, tension, the small moments of irritation, because that's what gets us closer to a world where everyone can participate. If we are weeding people out because of tensions, that's that's not a world where everyone can can live together. And you know, the amazing thing with how question culture approaches abolition and approaches cooperativism and approaches the Solidarity Economy and approaches art, is that these are all interwoven, right? Neither is separate from the other. You cannot be practicing in a solidarity economy, without being abolitionist and without being an artist. And so when you look at the ways that they produce their music, is that they work on their their film and their clothing, it's all in response to this.
There's an amazing effort called a Pajamyjam that they do, I think, every year. And this is a space where folks can come in, they can write music together. It's producers who are coming in, like recording artists who are coming in, people who are good at editing, who are coming in, and they're all, you know, engaging in experiment together, which is a crucial element of the Solidarity Economy. But when you're in person together, right? There are things that you need to navigate in terms of, what's it like if we have liquor on site, right? How does that affect people's ability to participate? Do we need to have childcare on site? How does that affect people's ability to participate? And so the way that Question Culture approaches this is with safety planning. And as a result, Pajamyjam has become a really amazing place for people to collaborate. And it's through this that you know, Fara’s music has come out, and we see this kind of full circle moment, and now that Question Culture is thinking about their their formal incorporation status, right? I think that it really mirrors the moment. That we're in where we're all thinking about, you know, we have been practicing resistance. We have been practicing democracy, community control in small spaces. But what does it look like to formalize this, to provide the infrastructure for something so that it takes us outside of just one moment and into a real world that we can inhabit and Question Culture, they're they're there, they're they're doing that shit, you know? And I think that is the invitation that they make to all of us this time of fascism that we're living under that is escalating with everything else. It's not new, right? But it's, it's time now to to make a concrete stance and to to make sure that the work that you're doing now in resistance can continue to happen, because it will need to continue to happen.
Marina:
Yeah, absolutely. Yeah. They're really embodying this duality of both resisting and creatively building simultaneously. And I really appreciate this framing of like, to me, I always say the Solidarity Economy is not some vision for, like, a totally peaceful, conflict free utopia. It's actually, to me, it's like about, how do we cultivate the skills that I think that capitalism has divorced us from. Capitalism has fragmented us internally, emotionally, psychically, physically, from the wholeness that we that we know that we can attain. And so I think Solidarity Economy values invites us into, how do we have practices around being in generative conflict, around vulnerability and and really finding points of reference for what felt deep, felt safety is like, and how do we do that as individuals, and how do we do that collectively as a group? So it's just really beautiful to see them surfacing that intentionally in their work, because I think it's always it's always there. It has to be. We're human.
Sruti:
I think that's one of the things that we've also really centered is that, like, you know, while we're engaging in this fellowship, it is a collaboration we don't want to I mean, it's been almost five years since Solidarity Not Charity, came out. And that was, you know, the report, the report that started all of Art.coop’s work, where we were really thinking about, what does it mean for philanthropy to exist and you're in relationship to the Solidarity Economy. And as Art.coop grew, suddenly, we realized that we have money that we can move and so what does it look like for us to do that? Well, it looks like understanding that we need to welcome space for feedback and welcome space for collaboration. This is not an Art.coop gives you all money and that's it, right? This is a peer to peer learning space that we're building together. And it's been, I think, especially important to have that because, you know, this is the pilot. This is the first time that we've run a fellowship like this. And because we set those expectations for fellows to give feedback, and for Art.coop to change the program based on their feedback, we've been able to do just that. There was a moment earlier on in the fellowship when we were thinking about doing an in person gathering, we really wanted to get folks together see if, you know, we could just talk in person. And then I think Inauguration Day hit, and everyone was like, hold up. Our financial stability is changing. Our legal stability is changing, and now we can't commit to an in-person gathering that would actually harm us more than it would help us. And so as a team, what the Art.coop staff decided to do was, well, let's take that money that we had allocated to gathering folks in person, and let's just redistribute it. So that's an additional $2,500 that each fellow got unrestricted to do what they needed to do. And as we think about the next year of the fellowship, it's also been important to think about, you know, these are people who have been in the Solidarity Economy and while we have that first year of the fellowship to align and get on the same page about language, tools and tactics, the second year is really about diving into another level. And folks gave us a feedback of, let's let's take it from a 101 or even a 201 level up to a 401 where each fellow can say, this is how we practice cooperative values, in how we make decisions, how we raise money, how we spend money, how we partner with people, so that fellows can actually skill share at a different scale than they were doing this past year. And. It's, it's pretty exciting to have that level of trust, to be able to ask the fellows and to know that they will give us their honest feedback, and to feel trusted to change the program, to meet their needs. It and that, I think, is an image right of the world that we could have. It's not going to be sans disagreement, but it could be leading towards fruit. You know, rather than siloing
Marina:
Absolutely, yeah, it's the ability to to really take in the experience of people and to adjust when when is needed based on what, what they're saying. Like, here are our needs. Here's what's actually really supportive for our group, and the way that we work and the way that we need to continue working. And I think that's so important, especially when there's an exchange of money or and also so important in in, like, power dynamics, right? And I think that that's one of the things that I really loved about this experiment with this fellowship, was it was like, how can, how can Art.coop, move these resources in a way that's also like dismantling and creating different pathways for resource distribution, for like funding groups, artist based groups, who are doing Solidarity Economy work that is in alignment with Solidarity Economy values. That is about like trust. That is about being in that generative tension of here's what this group of people thought, but here's actually the needs that need to be met. And so it's really beautiful to see almost a year in how that process is going and what you're learning. What are some of the things that that y'all did over this last year with the fellows that felt like they were spaces of shared learning, or, yeah, what did that look like?
Sruti:
Yeah. I mean, I think, I think this was our most successful workshop was we did an Offers and Needs Market building on the work of the Post Growth Institute, and I think what we invited into that space was, yes, all of these people who are in the market with us are joining as representatives of a collective, and they're also joining as individuals. So you know that felt like a really important moment where people were making offers and requests based on their own personal capacities and their organizational capacities. And that's one of the other things that I feel like we we don't see in those funding dynamics that often, right? You're often asked to turn off your individual self. Don't, don't bring, don't bring Sruti into this, think only about Art.coop. But that's not what we want. And I think that was an important moment. And I think the other thing was honestly moving money as flexibly as we could and to fellows needs. It's not a huge chunk of change, it's Fifteen grand. It can be important, but it's not anything in the scale compared to what philanthropy could be giving. And I think that, like you said, right, the way that the money was distributed felt more aligned with people's values. And I think we're excited to build on that.
Another learning point was that we offered a Technical Assistance Fund this year that went amazingly. I think every single fellow took that up with ease. Another thing that we offered was the Connection Fund to offset people's, you know, any costs that come with gathering in person. And that one was harder for folks to think about, because it's not something that often gets funded in that explicit way, and I think it's something that we're excited to maybe explore a little, you know, further. What could it be like to get a bunch of fellows to join for, you know, the next year's Federation of Worker Cooperatives Conference? Or to speak with Grantmakers in the Arts, in person? There's, there's opportunities like that, where I think that it could be really exciting to to push, push into that.
Marina:
Yeah, that's so cool. Yeah. It makes me really think about how, especially, I think in arts based funding, a lot of funding is for projects, but I think what's forgotten is like, in order for those projects to happen, especially more socially engaged, collaborative projects that involve people, right? You need that time to build connection. You need that time for the relationality of being human-to-human being in the same space. And so I really love that, because Art.coop is made up of artists, right? We know this. We're like, there's this, there's this part of the magic sauce that we really want to support and ensuring that people can gather together in real time, in person and learn from from each other's is really key.
Sruti:
Yeah, yeah. And I think it's one of the things that you know, again, going back to Solidarity Not Charity, right? Do you want to prioritize relationship building? It's being resourced?
Marina:
Yeah, definitely. Well, coming into the second year, what are some of the things that you're looking forward to? Are there? I think you've touched a little bit on some of the things you're exploring, but are there changes you're going to make or?
Sruti:
I mean, I think one of the things that we're definitely going to keep doing is having this bucket currently for the retreat that could be redistributed. Think that was something that really, really worked for the fellows. Think a thing that we're building right is that 201 to 401, shift where the request is now going to be that fellows take - you know, there's six presentations throughout the year - each fellow has one where they talk about Solidarity Economy in practice, and then also learn from other people. The other, you know, really exciting thing is that, you know, the way that we designed this fellowship was that it was supposed to be multi year, because that's you got to build trust slowly, and it takes time, and we've seen some little buds right of possible collaborations. Ohketeau was working on a new documentary related to Into the circle, and we know that MeansTV is often looking for content to uplift, to share, to promote the other networks. Groupmuse is doing a lot of work around house concerts. And Pajammy Jam is a version of a house concert that's focused on the creation act. Artisans Co-op is led by within four artisans, and Acres is made by within for artisans. Right? So there are all these little connections that are starting to begin, and next year, we're hoping that those connections can blossom.
Marina:
So going into the second year, you'll stay with the same group of fellows, will there be an opportunity to to nominate or bring on a new group in the coming years?
Sruti:
Yeah, I think that's another thing that we're looking forward to. You know, the way that the nomination process worked this year was that we as staff nominated the fellows, and next year we're really hoping that the fellows get to nominate who their successors could be who their parallel partners could be, right? Because there is an intention of overlapping fellows, because they're the people who know the fellowship experience from that side, they should be the ones to choose who receives it next. I mean, we're also thinking about, you know, pulling in some elders, other folks who've been in the Solidarity Economy movement to guide us in choosing the next iteration of fellows.
Marina:
That's really exciting. Is there anything else that you want to share? Reflections from the past year, things you're excited about, work that you want to share with people listening ways they can plug in.
Sruti:
I think one thing I want to share is that, you know, this is one side of the work, which is moving the money to the artists, and the other thing is moving, moving money from people with wealth. And that is the other side of this equation that Marina, I know you're thinking about a lot, and that when we designed this fellowship, we were also thinking about, right? We had the amazing gift of the Art of Solidarity cohort that you and our one and only Robin Bean Crane ran this year where stewards of wealth donated money to Art.coop that was put aside for Remember the Future. And I think that's an element of this work that I want folks to tune into. I mean, all of the work of Art.coop is about is changing, is about changing the way that we relate to money. And that has to happen on both ends, as artists receiving money, as artists stewarding money, but also as people releasing and seeding money. And that happens through art making. And I think that again, as we think about the eventual overthrow of fascism, it's going to be important to know how to move resources from yourself and into others' hands.
Marina:
Yeah, absolutely. I think we talked a little bit about this in the first episode that we recorded with Ebony, around the kind of longer design process of the fellowship, and kind of what came before this version of the fellowship, where there was really a very intentional piece around wealth stewards - people who had money that they wanted to redistribute - being a part of the process of moving that money and being witnessed in that process. And so I think that, like, yes, part of the work of Art.coop is like helping wealthy people, and specifically with our Art of Solidarity cohort, working with wealthy artists to find their role in the Solidarity Economy that includes redistributing their money, but is also more than just that. And so, yeah, I would say there's a really beautiful invitation if you are somebody who has resources that you want to redistribute and you're not sure where, and you want it to have a deep impact, I think that it's really clear that all of these fellows, even supporting one group, right, has this ripple out effect into the community that they're in, but then also because of the peer-to-peer exchange and learning that's happening by in supporting that group, they're also able to bring their learning and their knowledge to other folks and to build from there. And so you're yeah, really like supporting this ecosystem of artists creating systems that nurture us, that work for us, that allow us to thrive. And sharing, you know, what they learn with each other.
Sruti:
And I think, you know, while stewards are a part of that artistic infrastructure too, they become knowledgeable in the act of seeding resources. And that is also a muscle that is not well practiced. And I think that's another amazing somatic work that you and Robin have been leading.
Marina:
Definitely, Robin and I have been talking about, how do we give capitalism a good death, and what is the role of wealth stewards in giving capitalism a good death? You know, you think about foundations who are doing spend down right - taking their endowment and basically giving a period of time to spend down that endowment. What are the role of individual wealth stewards in giving capitalism a good death? And what does that mean for them as individuals, but for them as a part of a collective as well? And so I think redistribution work can be a part of that.
Well, thank you so much for having this conversation with me. Catching me up on a year in almost a year into the first year of the fellowship, and what you're really looking forward to next year.
[Music - Hot Springs by Andile Blessing Magwaza and Sizwe Lancelot Mbelu]
Marina:
Thank you so much for joining us today. Special thanks to the Remember the Future Fellows for sharing their stories with us and for their ongoing commitment to an artist liberation movement. Remember the Future is edited by Anthony Rodriguez with visual design by Emma Werowinksi and theme music by Andile Blessing Magwaza and Sizwe Lancelot Mbelu.
The show’s executive producers are Ebony Gustave and me, Marina Lopez. Additional thanks to our colleagues at Art.coop,Sruti Suryanarayanan and Nati Linares.
You can hear more episodes of Remember the Future anywhere you get your podcasts. If you enjoyed what you heard, we invite you to rate, subscribe and review! Find us on Instagram and twitter @_artcoop
You can also help sustain this podcast by visiting our website Art.coop and clicking on donate to make a donation.