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Terms and Conditions
Introduction
Welcome to TONGUES, provided by Voodoo Voodoo Ltd (“we”, “us”, “our”). Access to and use of this website (“TONGUES”) is provided by us on the basis of a number of important terms and conditions, which are set out in full below.
You should carefully read these terms and conditions (“terms”). When you use TONGUES, you will be legally bound by these terms, which will take effect from your first use of TONGUES. If you do not agree to be legally bound by these terms, then you should not use TONGUES>.
These terms apply generally to the use of TONGUES. Any facility (“Comment Facility”) that we may make accessible to you through TONGUES, enabling you to post messages, comments, information, material or content (a “Contribution”), may have additional special terms attached. If and when a Comment Facility becomes available, you will need to read and agree to be legally bound by those special terms before you post a Contribution or use those sections. If you do not agree to be legally bound by those special terms then you will not be able to post a Contribution.
TONGUES is not intended for distribution to, or use by, any person in a country where that distribution or use would be contrary to local laws or regulations.
Changes to Terms
We are continually seeking to update and improve TONGUES. As a result, we may make changes to TONGUES, including these terms, at any time. You will need to review these terms regularly so that you are aware of any changes we have made. You will be legally bound by the updated or amended terms from the first time that you use TONGUES after we post the changes on-line.
TONGUES Content
The rights in materials, images, information, data, trade marks, trade names and logos and other content included on TONGUES (“TONGUES content”) are are owned by us or the relevant third party content owner. All rights are reserved and acknowledged. As TONGUES content is protected by a variety of third party rights, you may not copy, adapt, re-publish, make available to the public or print off copies of TONGUES content in any way, or use it other than as part of TONGUES and for your personal non-commercial use, without our prior written permission.
Information
Information which we provide through TONGUES is in outline for information or entertainment purposes only. You should not rely on it.
Third party websites
We do not monitor the content of third party websites and any link provided on TONGUES is solely for your convenience. We cannot therefore accept any responsibility for any third party website. You are responsible for checking and complying with the terms and privacy policies applicable to your use of any third party website.
Responsibility
The extent of our responsibility to you has been determined in the context of the following:
access to TONGUES is provided to you free of charge;
it is your responsibility to determine the suitability of any TONGUES content for any particular purpose to which you wish to put it;
TONGUES does not give instructions and you are responsible for any action or decision you take or do not take as a result of TONGUES content;
It is your responsibility to ensure that your equipment is enabled with appropriate up-to-date virus checking software before you access or use TONGUES.
Whilst we will endeavour to ensure that TONGUES is available to you and that content for which we are responsible is accurate, we cannot make any legal commitment or representation to you that TONGUES will be available at any particular time or that it or any TONGUES content will be of any particular quality or fit for any particular purpose. However, we will exercise reasonable skill and care in providing any service to you.
We can accept no liability to you for any of the following types of loss (should you suffer any of them as a result of your use of TONGUES):
loss which was not foreseeable to you and us when you first accessed or registered to use TONGUES (even if that loss results from the our failure to comply with these terms or our negligence);
any business loss you may suffer, including loss of revenue, profits or anticipated savings (whether those losses are the direct or indirect result of our default);
loss which you suffer other than as a result of our failure to comply with these terms or our negligence or breach of statutory duty;
any loss suffered due to the default of any party other than us.
We do not give any commitment that TONGUES or any TONGUES content will be available uninterrupted or error free, that defects will be corrected, or that TONGUES or its supporting systems are free of viruses or bugs.
We can accept no liability to you if we fail, or are interrupted or delayed in the performance of any obligation because of:
the non-availability or failure of any telecommunications or computer services, systems, equipment or software operated or provided by you or any third party;
any other event not reasonably within our control.
We do not give any commitments or accept any liability to you in respect of TONGUES content provided by other users of the website or third parties other than us.
Nothing in these terms will limit our liability for death or personal injury arising from our negligence.
Remedies
To the extent that we are practically able to do so, we may terminate your access to any part of TONGUES at any time without notice if you breach any of the terms.
General
If any of these terms are determined to be illegal, invalid or otherwise unenforceable then the remaining terms shall remain in full force and effect.
These terms shall be governed by and interpreted in accordance with the laws of England and Wales. If you are a consumer, then you may have rights to bring court proceedings in the courts of the country in which you are domiciled. Otherwise, to the fullest extent permitted by law, you and we shall bring all court proceedings in the courts of England and Wales.
© TONGUES — An initiative by Voodoo Voodoo Ltd

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Privacy & Cookies Policy
Introduction
The tongues.cc website is operated by Voodoo Voodoo Ltd (‘TONGUES’).
This privacy policy applies to TONGUES.
We want you to enjoy our website and services secure in the knowledge that we have implemented fair information practices to protect your privacy. By visiting our website, you are accepting the practices described in our privacy policy, including our use of cookies and similar online tracking technologies. If you do not agree to the terms of this privacy policy, please do not use the website.
TONGUES may change this policy from time to time by updating this page and you should regularly check to ensure that you are happy with any changes. This policy was last updated on 11 February 2020.
The policy outlines:
1. General principle
2. How we collect information
3. Types of information we may collect
4. How we use your information
5. How we protect the information we collect
6. Access to your personal information
7. How to contact us
1. General principle
There are two types of information we may collect from you when you use the website: non-personally identifiable information and personally identifiable information. Non-personally identifiable information does not individually identify you, but it may include tracking and usage information about your general location, demographics, use of the website and the internet. Personally identifiable information is information that you voluntarily provide when you set up a user account, subscribe to a newsletter, or query that can individually identify you and may include your name and email address etc.
We do not link non-personally identifiable information to your personally identifiable information.
We do not share either type of information unless required to run the website and services (see third-party services below). We will never sell either type of information.
This privacy policy does not apply to any information collected outside of the website, including offline or through other means (for example, via telephone or through email), unless otherwise stated below or at the time of collection.
2. How we collect information
We collect information when you:
— Ask to be placed on an email newsletter list
Make an enquiry about our services
— Answer a reader survey
— Provide information to us
Links to other websites, social media platforms
Our website may contain links to other websites of interest. However, once you have used these links to leave our website, you should note that we do not have any control over the information that is collected and shared about you. You should exercise caution and look at the privacy statement applicable to the website in question.
You may interact with content on our website through social media platforms we use such as Facebook by using their social features. Examples of social features include ‘liking’ or ‘sharing’ our content. We encourage you to review their policies before using their tools, which can be found at their respective websites. If you’d prefer that these social media platforms do not collect information about the content you share and use, we suggest that you don’t use their tools.
3. Types of information we may collect
The types of information we may collect includes:
— Account information (email address)
— Information you provide through a TONGUES reader survey which might include age range, education level etc
TONGUES is not responsible for any information you have provided in public areas of our website or on our social media platforms, which may then be viewed by other users.
4. How we use your information
The information we collect may be used to help us:
— Provide services you voluntarily subscribed to such as email newsletters
— Improve the quality of our website
— Promote services to you including advising you of updates or changes to our website and services
— Improve the website through reader surveys and feedback
Disclosure to third-party services
As part of providing our website and services to you we use a limited number of third-party services that perform functions on our behalf, including but not limited to website hosting, server monitoring, tracking user behaviour, marketing automation services, and customer service.
We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of these third-party services and encourage you to read the policies of the services we use below:
TONGUES uses the MailerLite marketing automation service to issue newsletters. Find out more about MailerLite’s Privacy Policy and Terms.
When you subscribe to our email newsletters
By clicking ‘Subscribe’ you agree to the following: 
We will use the email address you provide to send you a weekly or monthly email. We also send occasional updates and, no more than once a year, reader surveys. 
The email address/es you provide will be transferred to our external marketing automation service ‘MailerLite’ for processing in accordance with their Privacy Policy and Terms. We use MailerLite to issue our newsletters. We have no control over, and assume no responsibility for, the conduct, practices or privacy policies of MailerLite
Unsubscribing
You can change your mind at any time by clicking the ‘unsubscribe link’ in the footer of emails you receive from us, or by contacting us at info@tongues.cc. If you want to review and correct the personal information we have about you, you can click on ‘update preferences’ in the footer of emails you receive from us, or by contacting us at info@tongues.cc.
5. How we protect the information we collect
We are committed to ensuring that your information is secure. We have taken reasonable measures to protect information about you from loss, theft, misuse or unauthorised access, disclosure, alteration and destruction. No physical or electronic security system is impenetrable however and you should take your own precautions to protect the security of any personally identifiable information you transmit. We cannot guarantee that the personal information you supply will not be intercepted while transmitted to us or third-party service providers. 
Sharing your personal information
We will not disclose your personal information except; (1) as described by this Privacy Policy (2) after obtaining your permission to a specific use or disclosure or (3) if we are required do so by a valid legal process or government request (such as a court order, a search warrant, a subpoena, a civil discovery request, or a statutory requirement). We will retain your information for as long as needed in light of the purposes for which it was obtained or to comply with our legal obligations and enforce our agreements. 
Data transfer
This website is published in the United Kingdom. If you are located in a country outside of these countries and voluntarily submit personally identifiable information to us, you should be aware that information about you will be transferred to this countries. We attempt to comply with local data protection laws to the extent that they may apply to TONGUES. 
Age of consent
Our website is not directed at children under the age of 18 and we do not knowingly collect or maintain information from those we know are younger than 18. If you are younger than 18, you should not submit or post any personally identifiable information to our website. By using the Service, you represent that you are at least 18 years of age.
6. Access to your personal information
You may request a copy of the personal information we hold about you by submitting a written request to info@tongues.cc. We may only implement requests with respect to the personal information associated with the particular email address you use to send us the request. We will try and respond to your request as soon as reasonably practical. When you receive the information, if you think any of it is wrong or out of date, you can ask us to change or delete it for you. 
We take all reasonable steps to ensure the information held is accurate, up-to-date, complete, relevant and not misleading. 
7. Contact us
If you have any questions about our privacy policy or our use of your information, please contact us at info@tongues.cc.

Tré Borden

July 02 / 2021

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Tre Borden is a Los Angeles-based art consultant producer and media strategist. He’s the founder and principal of Tre Borden /Co, a company committed to lifting up creative voices and advocating for resilient, inclusive and equity-centred communities. The company produces public artworks tackling inclusive themes, curates art in private and public spaces, organises idea-led events and produces media content that centres progressive thought leaders.

Most recently, Borden produced the short film A Black Woman’s Declaration of Independence written and directed by Jessa Ciel.

Q >Tell us a bit about what being a creative consultant and producer entails and the path that brought you to this role.

A >One of the things I appreciate most about my career is that I can choose what I work on, and I am able to work with the people I admire and like most in the world to make dreams possible. My role is to work with artists, and others with a compelling and creative vision, to make their ideas a reality. Often that means finding the resources, building the necessary team, securing partners and permissions and reaching audiences to make a bold ideal feasible and help it to reach its full potential. This is a very collaborative process between me and the artist/client, and it is a role I’ve gained the confidence to do after working on a variety of projects over many years. I began in Sacramento in 2012 working with artists to activate dormant and underutilised spaces to engage people. This took the form of pop-up galleries, temporary installations and events, which at the time were uncommon in Sacramento and during a nascent renaissance in the city. That grew into art consulting for developers and businesses and producing more permanent large-scale art projects with artists.

After Trump was elected I became much more thoughtful about producing projects that had a progressive point of view. It was important to elevate artists and ideas from marginalised communities that sought to make an impact on the problems our world faces. I continued to do this when I moved to Los Angeles in 2018 and expanded my network of artists and mentors. In the pandemic, my work began to include more digital media as that was the best way to reach people, so with A Black Woman’s Declaration of Independence, I feel like it’s a real culmination of my experiences. It is even more so a full-circle moment that I get to do it with one of my oldest friends and collaborators Jessa Ciel who has been such a huge part of my life and journey as an arts professional.

Q >What did being producer of “A Black Woman’s Declaration of Independence” involve? 

A >When Jessa came to me with the idea for this film in January I at first questioned whether she was really serious about creating such a provocative and vulnerable work. When it became clear, rather quickly, that she was determined to see it through, I told her she could count on me to help and my job became to do everything in my power to make sure that she not only had the resources to execute it, but to ensure that it was done at the highest level we could achieve. This project will be highly scrutinised, so it was important to make sure that even if people disagreed with the content or message, as many might, they wouldn’t be able to say it wasn’t well done. One first I experienced in this project was investing my own resources (Jessa and I co-financed the project) rather than seeking investors/donations which we decided was necessary due to the nature of the content and the self-imposed timeline. It was also due to what turned out to be a fair amount of naiveté about how much money it would take to make haha.

My main role is to oversee the entire production, which means putting the pieces in place to make sure we could execute the film, supporting Jessa in creating the strongest statement we could from a creative standpoint, and now is focused on making sure we reach the widest and most relevant audience we can which fortunately/unfortunately feels like the entire sentient world. Essentially my job is to create the container in which this film can flourish. It has been a challenging way to marshal the skills I’ve learned on other projects and in a medium that is so accessible. I hope to do more of it.

Q >Learnings and chapters — Have you ever experienced ‘rupture’ and started anew?

A >I would say that my “rupture” was two-fold; The first was when I left New York at the beginning of the recession in 2008 and returned to my hometown of Sacramento. I was so unsure of what was next and felt somewhat sheepish about living in my parents’ house while taking GMATs with no clear goals but business school. My second rupture was being “separated” (aka fired extremely suddenly) from my first job out of my MBA program after 30 days and having to begin the real work of finding out how to best utilise my ability to bring people together and think big. Thankfully, artists were such a worthy and complex class of professionals to collaborate with and they taught me so much while allowing me space to learn and hone my skills. The journey has been so meaningful and rewarding, and I am so grateful.

Q >Which things do you think the people around you often take for granted?

A >I think that people underestimate how much impact one person can have by not accepting how things have always been or what is presented as possible. We are living in a very precarious time where it is so clear how much is at stake and how much bold action it will take to create a world where everyone has a chance to thrive or even just survive. Especially in America: we are so complacent about our status as a country that matters in the world that we are blind to how much we have undermined ourselves with unfulfilled promises of liberty and justice for all. This film, which focuses specifically on the toxic soil of white supremacy that this country has grown out of, will hopefully jolt people awake and propel our current momentum of reckoning to even greater possibility and urgency.

Q >What projects are you proudest of having been involved with? 

A >Aside from this film, I am most proud of a project I completed during the pandemic called Lighting Up The Sky with the Crenshaw Dairy Mart. This is an art collective in Inglewood led by Patrisse Cullors (co-founder of Black Lives Matter), Alexandre Dorriz and noé olivas that sits under the landing path for planes at LAX. In June when the racial reckoning (and pandemic) were in full swing we placed a mural and light installation on the roof of their building that spells out BLM and serves as a beacon of hope and action for everyone flying above. It was so meaningful to work on that especially in such a desperate and chaotic time.

Another project is Colors of Progress which was a visual oral history of the LGBTQ+ movement using the words of people from that community from the past and present. Its goal was to use the 50th Anniversary of the Stonewall Riots to lift up a much more inclusive set of voices from the struggle than are typically acknowledged and make people have to sit with their experiences as they enjoyed celebrations around the country. It was one of the most logistically complex and personal projects I executed with artist Phil America, a frequent collaborator and a dear ally and friend.

Lastly Bright Underbelly, a 70,000 square foot mural in Sacramento I did with mural team Studio Tutto will always have a special place in my heart as it was the first time I executed something permanent on that scale and really started to spread my wings as a producer of ambitious projects.

Q >Surprising contradictions — tell us about things that conflict you and inspire you at the same time.

A >I would say not knowing what I’m doing is a constant tension. What I mean by that is the feeling of approaching an exciting idea and having a clear vision with no real blueprint for how to do it is exhilarating, but it is also very challenging. It keeps me humble because I am always forced to ask for help and am so reliant on other people who believe the vision to bring an idea to life. A great benefit is I am constantly meeting brilliant and values-driven artists whose skills I can put on full display, and it also pushes me to keep innovating every time. Another contradiction would be always having less resources than would be ideal for a project and yet the resourcefulness that necessitates creates the best version of the project.

Sometimes a constraint can be an asset as how you adapt a project to real circumstances keeps it close to its essential parts and also requires ingenuity and most importantly a team that is in it for the right reasons. That said, after this project I am looking forward to having the opportunity to execute an idea with enough resources to grow a team so that we are not wearing so many hats and can actually sleep (it is 2:54 am as I write this).

Q >How can art influence communities who exist outside/beyond the art world?

A >Sometimes people make the mistake of thinking that I have a formal contemporary art background and education. I do not. Everything I know about the art world has come from working directly with artists and being curious about how they navigate the problems we all face. My relative ignorance, and the fact that I started my career in Sacramento with less access to the more rarified (read: relentlessly exclusive and pretentious) art world, has allowed me to forge a career in the arts that thrives on accessibility and impact. I don’t have an interest in a career in the arts that keeps most people out, and it does a huge disservice to communities and artists to prevent meaningful collaboration. I often say artists are just problem solvers and communicators when you get down to it, and artists are some of the most socially versatile community creatures we have — comfortable in a dirty warehouse, an art opening and a political rally. What they have to say and their approach to problems that affect their communities is so vital, and I think allowing them a seat at the table and a visible place in society is so beneficial to pushing things in the right direction. The “art world” I think really just refers to the most capitalistic and exclusive aspects of the art ecosystem, and I think the less we can replicate in the arts what we see not working in other aspects of society the better.

Q >What advice would you give a youngster considering a career in the arts?

A >I would say first understand what it is you care about and the impact that you would like to make. I think sometimes people starting out think you must narrowly and visibly define yourself or specialise in a particular style to be taken seriously. The most interesting and effective artists I know are always learning new ways to express their ideas and are responding to real needs and conversations in the communities they care about. I think sometimes the medium is the message and vice versa so deciding what impact you want to have and how you want to create change is a very good foundation before you even decide what you want to make. That being said, figure out what you enjoy doing and see who is doing it already. There is nothing created now that isn’t the result of so many brilliant minds who were here before or still here now so getting as much exposure as you can to the artists who inspire you is essential and should never stop.

 

Borden was raised in Sacramento and attended Yale University where he received his B.A in East Asian Studies and graduated with his MBA from UC Davis Graduate School of Management.

Tré Borden

In Plain Sight — Performance, 2020 / Cassils and Rafa Esparza, Lead artists for “In Plain Sight”. Photo by Chris Mastro (image source: Vogue)

In Plain Sight — Performance, 20200 / Cassils ready to takeoff. Photo by Chris Mastro (image source: Vogue)

In Plain Sight — Performance, 2020 / Photo by David McNew (image source: The Guardian)

Lightning up the Sky (at Crenshaw Dairy Mart) — June 2021. Photo by Chad Davies

Lightning up the Sky — 2021 (video still)

Colors of Progress (in front of Califorian Capitol) — An artwork by Phil America, June 2019. Photo by Caravan Film Crews

Colors of Progress — An artwork by Phil America, 2019. Photo by Chad Davies

Colors of Progress (detail) — An artwork by Phil America, 2019. Photo by Chad Davies

Bright Underbelly — 2016, Studio Tutto. Photo by Kevin Fiscus