ARTISTS
Isaac Julien: Once Again... (Statues Never Die)
Once Again 鈥� (Statues Never Die) (2022) is Julien鈥檚 latest work and an outstanding example of his unique approach to installation. The film work is a portrait of Alain Locke (1885鈥�1954), the philosopher, educator, and cultural theorist who was a leading figure in the rise of African-American cultural and intellectual life in the United States in the 1920s and 1930s as the father of the Harlem Renaissance. The film explores the relationship between Locke and one of the most significant collectors of African material culture in the twentieth century, Albert C. Barnes.
Julien鈥檚 film plays out across an installation of two back-projected screens which are reflected in the surrounding walls, on which panels of mylar mirror of the same dimensions are installed. They have the effect of doubling, sometime trebling the image, while troubling our gaze, reflecting it back on ourselves.
With this work, Julien returns to the museum as a site of critical reflection. He conceived of the work as a form of 鈥榩oetic restitution鈥� that raises important questions about the collection, display and interpretation of 鈥楢frican art鈥� by European museums. The presentation at ARoS marks the premiere of the work in Denmark.
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Once Again 鈥� (Statues Never Die) (2022) is Julien鈥檚 latest work and an outstanding example of his unique approach to installation. The film work is a portrait of Alain Locke (1885鈥�1954), the philosopher, educator, and cultural theorist who was a leading figure in the rise of African-American cultural and intellectual life in the United States in the 1920s and 1930s as the father of the Harlem Renaissance. The film explores the relationship between Locke and one of the most significant collectors of African material culture in the twentieth century, Albert C. Barnes.
Julien鈥檚 film plays out across an installation of two back-projected screens which are reflected in the surrounding walls, on which panels of mylar mirror of the same dimensions are installed. They have the effect of doubling, sometime trebling the image, while troubling our gaze, reflecting it back on ourselves.
With this work, Julien returns to the museum as a site of critical reflection. He conceived of the work as a form of 鈥榩oetic restitution鈥� that raises important questions about the collection, display and interpretation of 鈥楢frican art鈥� by European museums. The presentation at ARoS marks the premiere of the work in Denmark.
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