1. SPATIAL MIGRATIONS: Creolization, Diaspora, and the Art of Maria Magdalena Campos-Pons, Jose Bedia, & Edouard Duval-Carrié Fredo Rivera Duke University Dept. of Art, Art History + Visual Studies

2. Edouard Duval Carrié, Migration (2004)

3. Edouard Duval Carrié, Migration (2004) “The many figures in the boat symbolize a floating island and the idea of being uprooted. The Caribbean is not stable, it moves.”

4. Edouard Duval Carrié, Migrations (2000)

5. Edouard Duval Carrié, Landing (2000)

6. Edouard Duval Carrié, Migrations (2000)

7. “For the ones who know Miami, the site of that landing is none other than the island causeway where pedestrians are not allowed. Thus begins another chapter in the story of identity interrogation that is the cultural inheritance of many immigrant Caribbean groups. The conditions and possibly the causes of displacement may be different today, but these events suggest that we are watching the replay of a kind of global politics in which Haitians constantly negotiate the physical space of America that they are trying to call home.” -Eduoard Duval-Carrié AP Photo 2002, Rickenbacker Causeway, Miami

8. Maria Magdalena Campos-Pons, Spoken Softly with Mama (1998)

9. Maria Magdalena Campos-Pons, Spoken Softly with Mama (1998) Maria Magdalena Campos-Pons, The Seven Powers Come by the Sea (1998)

10. “Because the collective memory was too often wiped out, the Caribbean writer must “dig deep” into this memory, following the latent signs that he has picked up in the everyday world. Because the Caribbean consciousness was broken up by sterile barriers, the writer must be able to give expression to all those occasions when these barriers were partially broken.” -Edouard Glissant

12. José Bedia, Naufragios (Shipwrecks) (1995)

13. José Bedia, Naufragios (Shipwrecks) (1995)

14. “In this new layered commentary, Bedia contrasts various methods of, means of, and technologies of transportation, each one reminding the viewer of Bedia's (or many of our ancestor's) own immigrant status and the state of being an immigrant in world history. On one wall are distinct assemblages connected by one of Bedia's familiar black lines, like a huge puff of smoke from a disabled plane: an airplane being hit by arrows and a steamboat resting on an ornate volute bracket. On the floor he has placed a beautifully crafted (skeletal) wood-frame kayak. Each of these elements contrasts eras and technologies (another recurring theme in his work) of travel and immigration...” -Judith Bettelheim José Bedia, Unititled (1994)

15. José Bedia, Naufragios (Shipwrecks), (1995)