JOHANNA HEDVA

CARE IN
END TIMES

Disability Justice is a framework that illuminates connections between the deathly forces in our world: linking ableism with racism, capitalism and colonial-imperialism, misogyny, homophobia and transphobia.

What happens when we integrate rather than refuse the pain, toil, and doom of surviving?

How do we put our interconnectedness into practice?

introduction

This module, featuring examples of Johanna Hedva’s genre-defying art, writing, music, and activism, explores strategies of care in end times: eras, like our own, marked by extreme economic inequality, ecological crisis, social division and precarity.

Well-known for their essay, Sick Woman Theory (2016) — a challenge to the ableist premise that one must have a public "presence" in order to be political, and a polemical critique of capitalist models of care informed by scarcity and disposability — Hedva’s work asks us to harness the potentials inherent in our bodies’ vulnerabilities and abundant interconnections.

Take, for example, this conception of care advanced by Hedva in the days immediately following the 2016 presidential election, offered as a way forward through the despair, anger, and denial experienced by many on the American left:

“When we cast the blame for the 2016 election toward everyone else but ourselves, we are again refusing to be careful, refusing to know our place in relationship to others, refusing terms other than our own. We who woke up and felt terror at the Trump presidency, when millions have been waking up feeling the same terror every day in American history, the same threat to their wellbeing, health, rights, and lives, the same dazed sorrow and confused fury, we who are new to this ancient and very American feeling must now insist on knowing our place in the unthinkable. If we are terrified that this is our America, we cannot risk the luxury of refusing to confront what America is, and has always been. We cannot afford oblivion. We cannot afford to nurse our shame in private shadows because it embarrasses us, or because we don’t want to believe it’s true. We cannot afford to close our ears to the American song. We must bring the skeletons out of the closet, listen to their history, allow ourselves to be haunted by their ghosts.

By doing this, we can transform our fear into care. Care is an exchange—the words “caretaker” and “caregiver” mean the same thing. We must give it as we take it. The project of becoming an individual on one’s own terms has no room for care, for being careful with each other.”

Confronting our own fears. Recognizing each other’s terror. Listening to history’s skeletons and ghosts. Divesting from individualism. Honoring care as exchange.

These radical insights and measures resonate beyond that post-election aftermath. They lend clarity to our ongoing efforts to address inequalities made even more tangible by the Covid-19 pandemic: a period in which many more of us have been hailed and changed, in Hedva’s words, by “the blast radius of illness and disability.” 

This module gathers together interviews with Hedva on art and politics; music from their 2021 album, Black Moon Lilith in Pisces in the 4th House; a recent lecture by Hedva about astrology as language and alternative form of knowledge; a collection of their writings that expand understandings of healing; and a keynote conversation with Hedva’s fellow artist and friend, Constantina Zavitsanos.

In celebrating and re-presenting Hedva’s work, we hope to further extend the invitations that suffuse it: to revalue the stories and people that shapeshift to survive; to bring about luxurious, joyful worlds through care; and to respect our bodies — plainly and beautifully — as things that need.

- The CARE SYLLABUS team 


doom

Earlier this year, Johanna Hedva released the doom-metal album, Black Moon Lilith in Pisces in the 4th House. It is, in Hedva’s words,

“a solo electric guitar and voice performance that is as much a cathartic grief purge as it is a droned-out metal colossus that summons the holy spirit. Informed by Korean shamanist ritual and the Korean tradition of P’ansori singing (which demands rehearsal next to waterfalls, in order to ravage the vocal cords), as well as by Keiji Haino, Diamanda Galás, and Jeff Buckley, this performance — termed “intimate metal” by a fan — is a grief ritual for my mother, who was a Pisces.”

Black Moon Lilith in Pisces in the 4th House — and the material assembled below, including a video from a live performance of two songs from the album; a conversation about the voice techniques that informed it; and a preview of each of the album’s tracks — forms part of Hedva’s recent exporations of the scale, temporality, and possibilities of doom:

“I started thinking about doom recently because I was explaining to a friend the difference between death metal and doom metal. ‘Death is fast, doom is slow,’ I said. I realized that when we speak of death, it’s often scaled to the individual, but doom is always scaled hugely, collectively: ‘We are doomed,’ ‘Earth is doomed,’ etc. The twenty-first century is marked by doom – the climate crisis, the promise that this is »late« capitalism (if only!), that liberalism is dead or dying. In 2020 we’ve found ourselves weathering many kinds of doom – disease, fascism – the apocalypse is here. We’ve killed the earth; we keep killing ourselves.

What comes after doom? And what does doom begin? How has it already mutated us?”

As part of Hedva’s 2020 solo exhibition at Klosterruine Berlin, God Is an Asphyxiating Black Sauce, they performed two songs from Black Moon Lilith in Pisces in the 4th House: “2 Coins (Tears are what god uses to lubricate his big machine of nothing)” and “Mary (God is an asphyxiating black sauce).”

video credits: curator: Christopher Weickenmeier video: Salka Tiziana audio engineer: Francesco Donadello live audio recording: Steffen Wolf

In their interview on Art Review’s podcast, Subject, Object, Verb, hosted and produced by Ross Simonini, Hedva discusses the many vocal techniques, from Korean Pansori to opera, and experimental vocalists they studied on the path to writing their new album. Learn more about Subject, Object, Verb here.

Preview songs from Hedva’s album below, or download the full album here.


divination


In their 2020 lecture at The Studium Generale at the Royal Academy of Art in The Hague, “How to Tell When You’re Going to Die: Astrology for Writers,” Hedva provides critical context for astrology as a divination tool, a deviant form of knowledge and world-making:

“You tell the future as you tell a story as you tell time as you tell me your name. All forms of language, are, to me, attempts at divination. Divination is nothing but an articulation of the future. And the future does not exist as such, but is a shimmering cast off by the past and present. Divination is simply a devotion to this shimmering, and it’s a devotion that expresses itself through different kinds of craft.”

“I want to propose ways to think through the entanglements of divination, as we can use it as a tool for articulation: we can think of narrative as a prophecy, writing as a curse tablet, cause and effect as interchangeably noun and verb. If I have a thesis today, maybe it is: language creates the world as much as it breaks it.”

 

 coping

Hedva’s work resists and remakes conventional notions of healing. In their collection of writing, Minerva the Miscarriage of the Brain (2020), they distinguish between healing and coping:

“I can’t stand the concept of healing if you don’t also talk about hopelessness, hemorrhaging, the medical-insurance industrial complex, panic, poverty, and boredom. I prefer the term “coping” because it acknowledges the struggle is real.”

Hedva’s work is a testament to the extraordinary forms such acknowledgment can take. The following selection of their writing from the last five years elucidates some contours of their contributions to collective conversations about the emotional, spiritual and political work of care and coping.

Sick Woman Theory” (2016)

“So, as I lay there, unable to march, hold up a sign, shout a slogan that would be heard, or be visible in any traditional capacity as a political being, the central question of Sick Woman Theory formed: How do you throw a brick through the window of a bank if you can’t get out of bed?”

 

In Defence of De-persons” (2016)

“A defence of a de-person could be said to be an embodiment of incompleteness, a demonstration of bad thinking, a performance of un-comprehension, a refusal of mastery at all.”

 

An excerpt from the first chapter of On Hell (2018)

On Hell transcribes a body broken by American empire, that of ex-con Rafael Luis Estrada Requena, hacking itself away from contemporary society. Johanna Hedva takes the ferocious compulsion to escape (from capitalism, from the limits of the body-machine, from Earth) and channels it into an evisceration of oppression and authority. Equal parts tender and brutal, romantic and furious, On Hell is a novel about myths that trick and resist totalitarianism.

 

The Mysticism of Mosh Pits, Or, The Mess of Sociality, Or, Have You Ever Seen Lightning Bolt Live?” (2019)

“The most important part of catharsis, the thing that makes catharsis catharsis, is that it requires a sociality in order to be born.”


How to Write? Don’t… At Least Not Yet” (2020)

A poetic and unconventional guide to craft.

 

keynote event



Deviant Fates: Ends in Care Times / Care in End Times

For Jupiter's ingress into Pisces on May 13, 2021, Johanna Hedva was in conversation with their dear friend, artist and follower of the fates Constantina Zavitsanos, to discuss how queer and crip people persist through deviant forms of knowledge that approach fate as material to be de-, un-, in-, and re-formed. Topics included, but were not limited to: art, doom, abolishing the give/take binary in care, astrology, dependencies, fugitivity, and magic.

About the Participants:

Johanna Hedva

Johanna Hedva is a Korean-American writer, artist, musician, and astrologer, who was raised in Los Angeles by a family of witches, and now lives between LA and Berlin. Hedva is the author of Minerva the Miscarriage of the Brain (Sming Sming/Wolfman 2020), a collection of poems, performances, and essays, and the novel On Hell (Sator/Two Dollar Radio 2018). Their album Black Moon Lilith in Pisces in the 4th House, a doom-metal guitar and voice performance influenced by Korean shamanist ritual was released in January 2021, and their 2019 album, The Sun and the Moon, had two of its tracks played on the moon. Their work has been shown in Berlin at Haus der Kulturen der Welt, Klosterruine, and Institute of Cultural Inquiry; The Institute of Contemporary Arts in London; Performance Space New York; the LA Architecture and Design Museum; and the Museum of Contemporary Art on the Moon. Their writing has appeared in Triple Canopy, frieze, The White Review, and is anthologized in Whitechapel: Documents of Contemporary Art. Their essay “Sick Woman Theory,” published in 2016 in Mask, has been translated into eight languages.

Constantina Zavitsanos

Constantina Zavitsanos works in sculpture, performance, text, and sound to elaborate what’s invaluable in the re/production of debt, dependency, and means beyond measure. Zavitsanos has exhibited at the Brooklyn Museum, New Museum, Artists Space, The Kitchen, and Participant Inc. in New York; at Arika in Glasgow, Scotland; and at Haus der Kulturen der Welt in Berlin, Germany. With Park McArthur, they coauthored “Other Forms of Conviviality” in Women & Performance (Routledge, 2013) and “The Guild of the Brave Poor Things” in Trap Door: Trans Cultural Production and the Politics of Visibility (MIT Press, 2017). They co-organized the cross-disability arts events “I Wanna Be With You Everywhere” at Performance Space New York and the Whitney Museum of American Art. Zavitsanos is a 2021 recipient of the Foundation for Contemporary Art’s Roy Lichtenstein Award. They live in New York and teach at the New School.