ARTISTS
Glyphs: Acts of Inscription
Artists: John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Zanele Muholi, Mwangi Hutter, Andrew Putter, Mickalene Thomas and Carrie Mae Weems
Glyphs: Acts of Inscription presents the work of ten international artists from Africa, Europe and the United States. The exhibition builds on the premise that identities are constituted through acts of inscription, real or imagined - into history, popular iconographies and artistic canons - and probes the consequences of such acts on the poetic and political dimensions of representation, difference and visibility.
Working in photography, moving image and mixed media, the artists represented cannibalize and query such archives to create new image repertoires that point to the lacunae鈥攖he silences, absences, and erasures鈥� contained within prevalent visual-historical renderings. These critical interventions challenge existing discourses, destabilizing the deeply ambiguous and often surreal taxonomies of 鈥榬aced鈥�, gendered, and sexed representation. The results are collective imaginaries more able to accommodate the complexity of historically situated, lived experience.
In the works chosen for this exhibition, art becomes an alternate, subversive form of power that produces new, non-binary possibilities and paradigms鈥攐nes that disrupt, augment, and reclaim. Within these projects, we encounter desire, fantasy, seduction; oscillations between truth, memory, and fiction; documentation, invention, and performative deconstruction; strategies of assemblage, recyclage, and artistic exorcism.
The exhibition is accompanied by a symposium, a keynote lecture by Carrie Mae Weems, a screening of new work by John Akomfrah followed by conversation with the artist, and more.
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Artists: John Akomfrah, Cheryl Dunye, Rotimi Fani-Kayode, Lyle Ashton Harris, Zanele Muholi, Mwangi Hutter, Andrew Putter, Mickalene Thomas and Carrie Mae Weems
Glyphs: Acts of Inscription presents the work of ten international artists from Africa, Europe and the United States. The exhibition builds on the premise that identities are constituted through acts of inscription, real or imagined - into history, popular iconographies and artistic canons - and probes the consequences of such acts on the poetic and political dimensions of representation, difference and visibility.
Working in photography, moving image and mixed media, the artists represented cannibalize and query such archives to create new image repertoires that point to the lacunae鈥攖he silences, absences, and erasures鈥� contained within prevalent visual-historical renderings. These critical interventions challenge existing discourses, destabilizing the deeply ambiguous and often surreal taxonomies of 鈥榬aced鈥�, gendered, and sexed representation. The results are collective imaginaries more able to accommodate the complexity of historically situated, lived experience.
In the works chosen for this exhibition, art becomes an alternate, subversive form of power that produces new, non-binary possibilities and paradigms鈥攐nes that disrupt, augment, and reclaim. Within these projects, we encounter desire, fantasy, seduction; oscillations between truth, memory, and fiction; documentation, invention, and performative deconstruction; strategies of assemblage, recyclage, and artistic exorcism.
The exhibition is accompanied by a symposium, a keynote lecture by Carrie Mae Weems, a screening of new work by John Akomfrah followed by conversation with the artist, and more.
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