artist statements

1 files changed, 10 insertions, 9 deletions

diff --git a/frontend/site/projects/museum/constants.js b/frontend/site/projects/museum/constants.js
index 4bcc600..ffa96c4 100644
--- a/frontend/site/projects/museum/constants.js
+++ b/frontend/site/projects/museum/constants.js
@@ -14,22 +14,22 @@ export const ARTISTS = {
     statement: `
       <p>
         <b>AFU. This is not a hackerspace.</b>
-      <p>
       </p>
-        Welcome to some savage archaeology in outta space! Occupy Archaeology! Occupy hackerspaces!
       <p>
+        Welcome to some savage archaeology in outta space! Occupy Archaeology! Occupy hackerspaces!
       </p>
-        We are in dire need of more cave paintings in hackerspaces. More boards of mothers leading us with ferocity and care. More PC towers of Babylon. More hieroglyphic encryption and more hybrid creatures. The artefact is the agent creating subaltern hackerspaces with HERitage und HERstory.
       <p>
+        We are in dire need of more cave paintings in hackerspaces. More boards of mothers leading us with ferocity and care. More PC towers of Babylon. More hieroglyphic encryption and more hybrid creatures. The artefact is the agent creating subaltern hackerspaces with HERitage und HERstory.
       </p>
-        All made by hand, thousands of years ago, remixed, stitched by hand, through software yesterday, conceived in a 3D printer today and reimagined tomorrow… The printer itself is the fetish object of open source and making communities. Forget ‘do-it-yourself’. It has always been the time for ‘do-it-together’. We, women of color, the invisible spirits and workforce, imagined and built computers and systems… We did the tinkering, always. And we don’t exist in dualisms of maker/made.
       <p>
+        All made by hand, thousands of years ago, remixed, stitched by hand, through software yesterday, conceived in a 3D printer today and reimagined tomorrow… The printer itself is the fetish object of open source and making communities. Forget ‘do-it-yourself’. It has always been the time for ‘do-it-together’. We, women of color, the invisible spirits and workforce, imagined and built computers and systems… We did the tinkering, always. And we don’t exist in dualisms of maker/made.
       </p>
-        Forget the god-lists that scientists made up of the ancient materials. No need for hierarchies of gods or domination of one god over another. Few spirits kept their identity throughout millennia. In outta space we prefer spirits to gods. Spirits that are fluid and that emulate from one to another. Spirits, Diĝir, Nin—that care for their spaces and people… The geek is resolved in punk archaeology by the crafting and coding of spirits, masquerades, witches, goddesses and daimons... 
       <p>
+        Forget the god-lists that scientists made up of the ancient materials. No need for hierarchies of gods or domination of one god over another. Few spirits kept their identity throughout millennia. In outta space we prefer spirits to gods. Spirits that are fluid and that emulate from one to another. Spirits, Diĝir, Nin—that care for their spaces and people… The geek is resolved in punk archaeology by the crafting and coding of spirits, masquerades, witches, goddesses and daimons... 
       </p>
-        We spirits defy linear temporality, mixing material and human life of different times... We are nodes of the causal network that gives events and codes coherence and meaning. One can recognise our ways when people (now and then) self-organise, envision, resist and revolt…
       <p>
+        We spirits defy linear temporality, mixing material and human life of different times... We are nodes of the causal network that gives events and codes coherence and meaning. One can recognise our ways when people (now and then) self-organise, envision, resist and revolt…
+      </p>
     `,
     image: "",
     globePosition: {
@@ -173,11 +173,11 @@ export const ARTISTS = {
     statement: `
       <p>
         I chose the location because of its originally intended function: A crematorium. This was one of the ambitious but unfortunately unfinished projects initiated by Ghana’s Kwame Nkrumah government in the 1970s. The building has been abandoned until today.
-      <p>
       </p>
-        I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>. 
       <p>
+        I am very interested in the rough aesthetic of the concrete adjoining with the scrabbled walls, which has developed in the last fifty years. The impression of the building is something historic and it reminds me of the inspirational material for a body of work which I sourced from tomb paintings: the Ancient Egyptian <i>Book of the Dead</i>.
       </p>
+      <p>
         The structure is present in central Accra, giving a mysterious backdrop for the prints and works that I share in the videos. It connects in sync with my narrative; to understand ways and visual forms which can take on the journey to an afterlife.
       </p>
     `,
@@ -197,9 +197,10 @@ export const PROJECT_PAGE_SET = new Set(["essay", "artists", "credits"])
 
 export const ESSAYS = {
   nadim: { title: "About The Last Museum", author: "Nadim Samman", },
+  statements: { title: "Artist Statements", author: "", },
 }
 
 export const ESSAY_ORDER = [
-  "nadim",
+  "nadim", "statements",
 ]