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.
Postcommodity acknowledges the important contributions of its previous collaborators: Steven Yazzie (2007-2010), Nathan Young (2007-2015), Adam Ingram-Goble (Game Remains), Andrew McCord (If History Moves at the Speed of Its Weapons, Then the Shape of the Arrow is Changing, and Promoting a More Just, Verdant and Harmonious Resolution), Annabel Wong (Dead River) and Existence AD (Dead River).