The warrant was requested by the U.S. attorney’s office in New Mexico and approved by U.S. District Judge Martha Vasquez. The item in question is a painted leather shield (alleged to have been illegally taken in the 1970s) that was put up for sale at an Estimations Ventes aux Enchères (EVE) auction—which also included an embalmed Nazca foot and a Lakota war garment, amongst other human remains and sacred objects belonging to indigenous tribes. “The grant of this warrant powerfully demonstrates the commitment of the United States to protecting tribal cultural patrimony,” said Governor Kurt Riley of the Pueblo of Acoma. EVE’s controversial auctions of indigenous objects
, fervently critiqued by Native American groups, date back to 2013; responding to the May dispute, EVE auctioneer Alain Leroy stated that “the public auction process allows the different tribes to acquire their past, and that is exactly what some tribes prefer to do, seeking efficiency and discretion.” This warrant follows ongoing endeavors to prevent the sale of indigenous objects overseas, including the Safeguard Tribal Objects of Patrimony (STOP) Act initiated by New Mexico Senator Martin Heinrich in July.
10 British artist Rebecca Moss remains adrift on a container ship off the coast of Japan after the shipping company hosting her sea-faring artist residency suddenly declared bankruptcy.
Moss is currently on board the Hanjin Geneva, a container ship, as a participant in Access Gallery’s “23 Days at Sea” artist residency. After reporting $900 million in debt, the Hanjin Shipping Company—the world’s seventh-largest line of shipping containers—filed for receivership last week. International ports have barred the company from docking its ships over concerns that Hanjin will not be able to pay port and service fees. The captain of the Hanjin Geneva hopes to be able to dock in Tokyo. Until then, those on board have been instructed to conserve food and water, according to Moss. Meanwhile, Moss, whose video work draws inspiration from the absurdity of systems’ interaction with nature, said that the ship’s situation has caused her to see the residency in a new light. “When I watch back all of the footage I have of the containers being loaded, for example, with the knowledge they are destined for nowhere in particular, it becomes comic, but also such a tragic waste of labour. Whereas before I was trying to tease out an absurdity, now it is hitting me in the face everywhere I look,” she said.