need no translation.
Investigating the intersections of IDentities, languages, and spaces.
Tears and laughter
Borders are not neutral—they embody colonial logics of exclusion, shaping language as divisive, identities as fixed, and belonging as conditional. Identity, however, is dynamic, emerging through movement, memory, care, and resistance.
My artistic practice confronts these colonial scripts, co-creating new grammars rooted in interdependence, imagination, and solidarity through difference. Drawing on critical futures thinking, I explore alternative temporalities linked to migration, memory, and refusal of colonial hierarchies. In the friction between visual metaphors, new ways of coexistence unfold, informed by ethical engagement rather than uniformity.
Aligned with futures literacy, my work disrupts linear narratives and fosters pluriversal imaginaries. Each piece is a rehearsal in anticipatory responsibility, deep listening, and radical reciprocity—shaping not what the future is, but how we might relate within it.
Tuning Beyond Borders
My Work
worlds
works
words
words
works
worlds
Art is never neutral—it resonates with power, amplifying solidarity or exclusion. My practice interrogates these vibrations, questioning whose voices emerge or fade into silence. Art, for me, amplifies unruly tones that defy assimilation, calling forth futures beyond dominant grammars.
Raised among shifting tongues, I learned language as a living, unpredictable waveform, charged with possibility. Future literacies thrive here: navigating ambiguity and uncertainty without forcing them into neat categories. Rejecting clarity for complexity and monolingualism for multiplicity, my practice embraces polyphony to imagine alternatives.
These choices are anticipatory acts of disobedience. They disrupt power’s clean signals, cultivating resonance as justice. Here, language is no longer a boundary but a shared ecology of difference shaped by care, conflict, and co-creation.
To dwell in unruly frequencies is to embrace a literacy of becoming—where identity is fluid, a vibration tuned to potential, and listening is an act of political imagination.
As Édouard Glissant reminds us, the “legitimacy of filiation” is not merely a metaphor of descent but the foundational violence of rooted thought: a mechanism through which colonial modernity silences relation, masks entanglement, and reduces becoming to bloodline.
Learn About My Story
Listening Otherwise
René Landspersky is a transdisciplinary artist, curator, and theorist whose practice investigates language, space, and memory as sites of struggle shaped by colonial histories and structural violence.
He challenges the assumption of space as neutral or static, instead conceptualizing it as a relational field produced through affect, power, and historical inscription.
His work operates through a synesthetic methodology, activating intersections between sound, gesture, texture, and voice to render space as sensorially and politically charged.
Perception is not isolated from critique; it becomes a medium of resistance. The body functions as a sensorium—capable of detecting, disrupting, and reconfiguring dominant spatial narratives.
Central to Landspersky’s approach is translanguaging, understood not as code-switching between standardized languages, but as an embodied, decolonial mode of sense-making that draws on diverse semiotic resources across modalities.
Translanguaging in this context is a refusal of linguistic purity and epistemic hierarchy. It enables alternative grammars that emerge in the cracks of dominant discourse—through silence, sound, movement, and spatial improvisation.
Sensing Otherwise: Becoming Beyond Filiation
Explore My Work
Landspersky develops what he calls a poetics of spatial refusal: art becomes an insurgent act that interrupts hegemonic representations and opens provisional, situated imaginaries.
These interventions do not chart predefined alternatives; instead, they map that which has been erased, denied, or remains in latency—tracing possibilities through disruption rather than resolution.
His installations and performances deliberately inhabit liminal zones—the thresholds between what can be said and what must remain unspeakable, between visibility and systemic erasure.
In these zones, identity, memory, and belonging are not stable categories but dynamic relations—shaped by contradiction, conflict, and the capacity to listen otherwise.
By merging synesthetic perception with translanguaging praxis, Landspersky proposes art as a method of spatial rearticulation: one that refuses legibility on colonial terms and enacts plural, co-created worlds in their becoming.
culture is not your freund
GOLDRAND
Library of visual metaphors
Art starts with a
