黑料不打烊

Allegedly the worst is behind us highlights the practice of twelve contemporary artists who pursue personal and collective acts of rebuilding fractured memories and stolen histories. Positing the body as an archive with generations stored achingly inside, the exhibition prompts examination on the toll of historical trauma and how to recover fragments of disrupted pasts.

Curators, philosophers, historians, and artists have long problematized normative notions of the archive, interrogating the role of institutions in including or excluding information and asking who has the power to build historical narratives and repositories. Emerging from performance and dance theory, the idea of the body as an archive centers corporeal forms of knowledge that challenge these dominant modes of keeping history. The artists in Allegedly the worst is behind us work to mend and amend the past in reckonings with memories, records, and archives, acting as both revisionists and storytellers. Drawing from their own family lineages and cultural backgrounds, in many cases lost or ruptured through forced relocation or removal, each artist explores what it means to be a living archive, carrying previous generations鈥� experience into the present. Through investigations in installation, painting, and video, they affirm the importance of art in keeping and questioning history鈥攃reating not mythic pasts but active practices for considering what stories need to be told, and, even rewritten.