New Red Order was in-residence at Light Work to create new work for Urban Video Project in December 2018 as part of UVP 2018-19: The Past Keeps Happening.
To create their new piece, Culture Capture: Terminal Addition, the artists worked with the James Earl Frazer archives at Syracuse University Special Collections Research Center and the Syracuse University Art Museum, which includes glass negatives, sketches, and maquettes of many of Frazer’s most famous works, including the Teddy Roosevelt Equestrian Monument and End of the Trail. They also shot green screen footage in studios at Citrus TV and the Newhouse School of Public Communications, and engaged in guerrilla photogrammetry captures at local monuments to settler colonialism including the monument at Columbus Circle in downtown Syracuse.
About the Artists
Adam Shingwak Khalil (Ojibway) is a filmmaker and artist. His practice attempts to subvert traditional forms of ethnography through humor, relation, and transgression. Adam’s work has been exhibited at UnionDocs, e-flux, Maysles Cinema, Microscope Gallery (New York), Museo ExTeresa Arte Actual (Mexico City), Spektrum (Berlin), Trailer Gallery (Sweden), Carnival of eCreativity (Bombay), and Fine Art Film Festival Szolnok (Hungary). Khalil is a UnionDocs Collaborative Fellow and Gates Millennium Scholar. In 2011 he graduated from the Film and Electronic Arts program at Bard College.
Zack Khalil (Ojibway) is a filmmaker and artist from Sault Ste. Marie, Michigan, currently based in Brooklyn, NY. His work often explores an indigenous worldview and undermines traditional forms of historical authority through the excavation of alternative histories and the use of innovative documentary forms. He recently completed a B.A. at Bard College in the Film and Electronic Arts Department and is a UnionDocs Collaborative Fellow and Gates Millennium Scholar.
Jackson Polys is a visual artist who seeks to dissolve artificial boundaries between perceptions of traditional Native art forms, practices, and contemporary life, and whose practice reflects an inquiry into the limits and viability of desires for indigenous growth. Prior to pursuing his undergraduate education in New York he worked as Alaska-based artist Stron Softi, with solo exhibitions at the Alaska State Museum and the Anchorage Museum, and has been engaged by museums seeking replacements for repatriated works. He obtained a BA in Art History and Visual Arts from Columbia University (2013) and holds an MFA in Visual Arts from Columbia University (2015). He is the recipient of a 2017 NACF Mentor Artist Fellowship and Advisor to Indigenous New York, the collaborative program initiative co-founded by Mohawk artist Alan Michelson and the Vera List Center for Art and Politics.
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The New Red Order collective uses video and performance to create a site of acknowledgment, savage pronouncement, calling out, calling in, recruitment, and cumulative interrogation to shift potential obstructions to Indigenous growth. They recently presented an evening of performance title The Savage Philosophy of Endless Acknowledgement at the Whitney Museum of American Art.
