Postcommodity is an interdisciplinary arts collective comprised of Raven Chacon, Cristóbal Martínez, and Kade L. Twist. Postcommodity’s art functions as a shared Indigenous lens and voice to engage the assaultive manifestations of the global market and its supporting institutions, public perceptions, beliefs, and individual actions that comprise the ever-expanding, multinational, multiracial and multiethnic colonizing force that is defining the 21st Century through ever increasing velocities and complex forms of violence. Postcommodity works to forge new metaphors capable of rationalizing our shared experiences within this increasingly challenging contemporary environment; promote a constructive discourse that challenges the social, political and economic processes that are destabilizing communities and geographies; and connect Indigenous narratives of cultural self-determination with the broader public sphere. Postcommodity are the recipients of grants from the American Composers Forum (2008), Arizona Commission on the Arts (2009), Joan Mitchell Foundation (2010), Creative Capital (2012), Art Matters (2013), and the Native Arts and Cultures Foundation (2014). The collective’s has been exhibited nationally and internationally, including: Contour the 5th Biennial of the Moving Image in Mechelen, Belgium; Nuit Blanche, Toronto, CA; 18th Biennale of Sydney in Sydney, Australia; Adelaide International in Adelaide, Australia; Scottsdale Museum of Contemporary Art in Scottsdale, AZ; and their historic land art installation Repellent Fence at the U.S./Mexico border near Douglas, AZ and Agua Prieta, SON; as well as the upcoming Whitney Biennial.
—Protest Art in the Era of Trump, by M.H. Miller, New York Times Magazine
—Postcommodity Reimagines the US-Mexico Borderlands in ‘Through the Repellent Fence,’by Brittany Stigler, artnet news
—Border Patrol, by Jordan Eddy, Santa Fe Reporter
—ABOUT PLACE: AN INTERVIEW WITH POSTCOMMODITY, by Crystal Migwans, The Miami Rail