Tomorrow is the Problem: A Podcast by Knight Foundation Art + Research Center at the Institute of Contemporary Art, Miami ICA Miami

This last episode of the season is dedicated to a singular artist whose layered portrayal and use of humor to relate to issues of belonging, home, racism, and brutality are part of a lifelong dedication to telling stories.

Haiti’s relationship to time goes back and forth along a spiraling line that repeated patterns while identifying them. Artists have long played a role in calling out failings and offering paths to rectifying trajectories.

In the face of mounting crises, who will listen to the voices of the past and the call for home-grown resilience?

The fractures left by inside and outside forces following Haiti’s double revolution against racial slavery and colonialism are still felt today. Analyzing history through a contemporary interpretive lens empowers a nuanced narrative that informs the present moment.

It also reminds the present of the potential of revolution.

Haiti has had a definite role in shaping the Miami cultural and physical landscape. As we explore the growing root system that gives rise to the singular cultural hub that is Miami, we dive into both its diasporic past and the climate changes its future is signaling.

With the African Diaspora came Yoruba, Kongo, the Orishas in their richly pluralistic forms as well as a great many other cultural and spiritual influences.
From ancestral means of worship to the blurry lines between art and ritual, two cuban artists share their experience of Santeria and ritualistic practices in their art, community, legacies and timelines.

From a young age, Betye Saar collected objects as a form of ritual, to hone their energy and activate their spirit. To protect and potentialize them.

Today’s episode explores ritual as a methodology for healing and power. From the ritualization of Betye Saar’s installation sites to the reclamation of the black body by Krista Franklin we follow, and deconstruct the Brookes Ship.