duskin drum, PhD, is a professor and researcher at the School of Advanced Studies, University of Tyumen.
At the School of Advanced Studies, duskin drum is a founding professor and researcher in the Material Relations research group. He is an interdisciplinary scholar, artist, performer, and woodsman. In 2017, he completed a doctorate in Performance Studies with designated emphases in Native American Studies, and Science and Technology Studies at University of California, Davis. In 2005, he earned a Bachelors of Arts studying interdisciplinary theatre and performance at Evergreen State College . For 15 years, duskin has been making art and performance in Asia, Europe and the Americas.
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Abstract: Petroleum Performances
This dissertation is a study of petroleum performances. It is a creative, performative, and speculative analysis of industrial petroleum operations, rhetorics about petroleum, and everyday North American life capacitated by petroleum products. North American petroleum operations and relations are examined through comparison and substitution with indigenous legal thought. This two part dissertation focuses the technical operations of a refinery and a crude oil pipeline hub.
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melt with us
by Sarah Lewison and duskin drum
published in the Journal of Aesthetics and Protest #9
“The refuse between mind and matter is a mine of information” Robert Smithson
One of the key concepts conveyed by permacultural practice is the reimagining of that which is in-between the barriers of a human built world: roads, fences, buildings. In permaculture, borders and edges are encounter sites where translation and adaptation between species encourages diversity and resiliency.
We humans also have edges. (1) We participate in multiple encounters and translations with the edges of other bodies within context-suffused mediums called “environments.”
The seed bomb is a permacultural meme that intensifies awareness of this participation. Popularized by microbiologist and farmer Yasunobu Fukuoka (2) and the New York’s Urban Guerillas circa 1973, seed bombs, a mix of seeds and compost rolled into damp mud balls, were also used by prehistoric farmers. Because seeds are lightweight, their mix facilitates distribution and germination by providing weight and protective cover; tossed over a border or fence, the ball, grenade, or bomb waits until rain melts it into the ground. As the seeds swell and cotyledons emerge, seedlings are supported by microbes and the chemistry of root and soil. (3) An amalgam of seeds, fungi, microbe and ground becomes a manifesto for the fullness of in-between.
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Table of sad penguins Performances
“it is a sad penguin” essay published in Performance Research 22
sad penguinos – first penguins
painting between prints
sad penguins – giant wheat paste graffiti
listening to the earth ii
the projects, portland
Ecopoetics, Berkeley 2013
sad penguins online and mobile app
sad penguins app
direct link to UC Davis performance video
Location: Carbondale, Illinois
Date: January 2011
Description: studio sketches, recycled 8.5″ X 11″ printer paper
“i feel sorry for the human people”
“LO SAD PENGUINO”
“i changed all my light bulbs but it melted anyways”
These are the first penguins I painted. Sketched out in Sarah Lewison’s living room/studio outside Carbondale, Illinois. Late in the evening, I penciled and water colored them on paper from Sarah’s recycle bin. And taped them to the wall and snapped a couple of photos.
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Location: Portland Oregon
Description: ink paintings on various sized scraps of paper
I began to regularly paint small sad penguins on scraps of paper. The painting of small sad penguins was a way to keep going when discouraged. I was printing serigraphs and making visuals for climate justice campaigns. Basically, the collective print studio where I was working, Flight 64, had piles of thin strips of really nice paper. Sometimes when friends came over to my house or studio, their attention would be drawn to small strips of paper, off cuts of serigraphs, painted with small sad penguins. I would be surprised and slightly annoyed. Why weren’t they focusing on my prints? Hard to believe from my fuzzy documentation but, the clumps and clusters of ink sad penguins had uncanny appeal.
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Location: Portland, Oregon and Hawai’i
Description: latex paint on painters paper, wheat paste, 6′ tall
I painted two 6′ tall sad penguins cutouts to wheat paste while living in Portland, Oregon. Honestly, I was a bit chicken to go out and paste them up. I finally pasted one up in a bus shelter on Hawai’i.
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Location: Santa Cruz Museum of History and Art
Date: May 26, 2012
Description: 14 hours painting sad penguins, card table, paper, sumi ink, watercolor, and tape.
On May 26, 2012, at the Santa Cruz Museum of Art and History(MAH) “sad penguins” participated in a multi-artist performance event called Listening the Earth II: Temporalities. This was the first presentational performance of “sad penguins.” I paint sad penguins with black ink and sometimes a few touches of orange, yellow and blue. I paint sad penguins who vary from cartoons to calligraphic ink marks. During the performances as I paint them I give them away to spectators and passersbye, and tape them up or lay them out in crowded grids.
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Location: Dashila’r hutong near Tian’anmen Square, Beijing, China
Date: June 6, 2012
Description: short performance with Li Lisha, paper, brushes, ink, watercolor, tape.
In Dashila’r Hutong just around the corner from Tian’anmen Square. Artist and curator Li Lisha and I grabbed a table at a soup place, ordered and started painting. We taped the penguins up to the front of an empty store front. We chose the store front because we mistakenly thought it was an underutilized art space. The timing, just two day after June 4th, made the performance tense and, perhaps, over loaded with associated meanings. Needless to say we kept it short (30-40 mins) and left before a crowd gathered.
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