Pato Hebert and Alexandra Juhasz — Capillaries of Care: No Silver Linings
A photo from Long Hauling by Pato Hebert and Alexandra Juhasz
What is a politics of the longhaul? Organizers, writers, and artists Pato Hebert and Alexandra Juhasz will discuss two years of collaborating on COVID. They will present ideas raised in their Long Hauling series with a keen interest in how activists and artists think from within a pandemic, including Hebert’s two-year photo project on his own longhauling with COVID. The pandemic is an occasion to reconsider broader notions of long hauling and learn from the challenges of long COVID, while cultivating reciprocity, holding uncertainty, and nuancing our efforts with lessons from other viruses and their related movements about mutual practices of aid and cohabitation to thrive over the long haul of sustained illness, neoliberal precarity, and other threats to human dignity and existence.
BIO
Pato Hebert is a visual artist, educator and cultural worker. He splits time between New York City, and his creative studio in Los Angeles. He is an Associate Professor and Chair of the Masters in the Department of Arts and Public Policy at NYU.
Alexandra Juhasz is a Distinguished Professor of Film at Brooklyn College, CUNY. She makes and studies committed media practices that contribute to political change and individual and community growth. She is the author/editor of scholarly books on AIDS including AIDS TV (Duke, 1995) and We Are Having this Conversation Now: The Times of AIDS Cultural Production (with Ted Kerr, Duke, 2022); fake (and real) documentaries (The Blackwell Companion to Contemporary Documentary, with Alisa Lebow, 2015) and Really Fake (with Nishant Shah and Ganaele Langlois, Minnesota, 2021); YouTube (Learning From YouTube, MIT Press, 2013); and black lesbian filmmaking (with Yvonne Welbon, Sisters in the Life: 25 Years of African-American Lesbian Filmmaking, Duke 2018). She is the producer of educational videotapes on feminist issues from AIDS to teen pregnancy as well as the feature fake documentaries The Watermelon Woman (Cheryl Dunye, 196) and The Owls (Dunye, 2010). She writes about her cultural and political commitments in scholarly and more public platforms including Hyperallergic, BOMB, MS, X-tra, and Lamda Literary Review.