American Pavilion, United States at Venice Biennale of Art - United States Pavilion, Giardini, Castello - City of Venice
(Photo: Simone Leigh: Façade, 2022. Thatch, steel,and wood, dimensions variable.Satellite, 2022.Bronze, 24 feet × 10 feet × 7 feet 7 inches (7.3× 3 × 2.3 m) (overall). Courtesy the artist and Matthew Marks Gallery. Photo by TimothySchenck. ©Simone Leigh)
Exhibition in progress from April 23rd to November 27th 2022
The 59th Biennale Arte will open to the public on 23 April. But on the 20th, 21st and 22nd there will be the various openings and collateral events that always suddenly animate the Venetian artistic life. The awards ceremony will take place on the day of the opening to the public.
The title of the 59th edition of the Biennale d'Arte is Il Latte dei Sogni that means The Milk of Dreams.
The invited artists are 213 from 58 countries. There are 26 Italian artists, 180 the first participations in the International Exhibition, 1433 the works and objects on display, 80 new productions.
In all, 80 nations will participate in the Venice Biennale in the pavilions at the Giardini, the Arsenale and in the historic center of Venice.
Go to the page of the 59th Venice Art Biennale
American Pavilion, United States at 59th Biennale Arte of Venice
The title of the exhibition at the American Pavilion is Sovereignty.
Artists: Simone Leigh.
Curators: Jill Medvedow and Eva Respini.
Commissioner: ICA/Boston, in partnership with the Bureau of Educational and Cultural Affairs of the U.S. Department of State.
Seat: United states Pavilion, Giardini - Venice
Press Release of American Pavilion
Simone Leigh: Sovereignty features a new body of
work made for the United States Pavilion. Characterized by an interest in performativity and affect,
Leigh�s expansive practice parses the construction of
Black femme subjectivity. Her large-scale sculptural
works join forms derived from vernacular architecture and the female body, rendering them via materials and processes associated with the artistic traditions of Africa and the African diaspora. Sovereignty
commingles disparate histories and narratives,
including those related to ritual performances of the
Baga peoples in Guinea, early Black American material culture from the Edgefield District in South
Carolina, and the landmark 1931 Paris Colonial
Exposition. With a series of new bronzes and ceramics both outside and inside the Pavilion, Leigh
intervenes imaginatively to fill gaps in the historical
record by proposing new hybridities.
The works in Sovereignty collectively extend
the artist�s ongoing inquiry into the theme of selfdetermination. The exhibition�s title speaks to
notions of self-governance and independence, for
both the individual and the collective. To be sovereign is to not be subject to another�s authority,
another�s desires, or another�s gaze, but rather to be
the author of one�s own history. Many of the featured
sculptures interrogate the extraction of images and
objects from across the African diaspora and their
circulation as souvenirs in service of colonial narratives. Though Leigh�s figural works present their
subjects as autonomous and self-sufficient, they do
not simply celebrate the capacity of Black women to
overcome oppressive circumstances, but rather
indict the conditions that so often require them to
affirm their own humanity. Acknowledging the
capacity of Leigh�s work to articulate an expansive
view of Black female experience, American author
and scholar Saidiya Hartman has described the
artist�s address of the Black feminine as �an architecture of possibility.� Hartman�s conception of
�critical fabulation��a strategy that invites historians, artists, and critics to creatively fill the gaps of
history�provides a resonant framework for
approaching Leigh�s work. �In order to tell the truth,�
Leigh proposes, �you need to invent what might be
missing from the archive, to collapse time, to concern yourself with issues of scale, to formally move
things around in a way that reveals something more
true than fact.�
Leigh�s exhibition continues beyond the U.S.
Pavilion with Loophole of Retreat: Venice, a convening of Black women scholars, performers, writers,
and artists in October 2022, organized by Rashida
Bumbray. The project reflects the collaborative ethos
that is characteristic of Leigh�s practice, and pays
homage to a long history of Black femme collectivity,
communality, and care.
Lee Satterfield,
Assistant Secretary
of the
U.S. Department of
State�s Bureau of Educational and Cultural
Affairs,
said,
�We
congratulate
Simone Leigh
on her
historic achievement as the first Black woman to
represent
the
United States
at the
International Art Exhibition of La
Biennale
di Venezia.
On this international
stage, her
work
will
be
a beacon for American art.
Simone Leigh's depiction of the reality, diversity, and complexity of the American
experience
will educate and inspire people around the globe."
Considering the U.S. Pavilion itself as a sculpture, Le
igh has transformed its architecture with
Fa�ade
, an
installation of thatch roofing that resembles a 1930s West African palace. Leigh�s exterior intervention introduces
contrasting forms and materials that carry their own histories and interact with the or
iginal neoclassical building.
The gesture draws upon the legacy of the landmark 1931 Paris Colonial Exposition, mounted by the French to
display the cultures and peoples of the lands then under European colonial control.
Standing at the center of the U.S
. Pavilion�s outdoor forecourt is
Satellite,
a monumental, 24
-
foot
-
high sculpture.
The work recalls a traditional D�mba, a headdress shaped like a female bust created by the Baga peoples of the
Guinea coast that is used during ritual performances to commun
icate with ancestors. A cast satellite dish tops the
sculpture, echoing the D�mba�s function as a communicative conduit.
Entering the Pavilion�s galleries, visitors first encounter a large reflecting pool featuring
Last Garment, a bronze
depicting a laun
dress at work. The work references a late 19th century photograph taken in Jamaica titled
Mammy�s Last Garment
. Postcards bearing such imagery played a key role in supporting stereotypes created by
the burgeoning Anglophone Caribbean tourism industry and
these souvenirs formed a part of a visual economy
that constituted an idea of Jamaica as imagined by its colonizers.
Two large works occupy the next gallery.
In
Anonymous
, Leigh draws upon an 1882 photograph, titled
The
Wilde
Woman of Aiken
, depicting a B
lack woman seated at a table with an Edgefield face jug, an important example of
early Black American material culture. The racist photograph was intended as a satire of Oscar Wilde and as a
rejection of the poet�s aesthetic theory that anything can be bea
utiful. Leigh�s face jug is transposed nearby and
enlarged to over 5 feet tall. Appended across the surface of the work are forms resembling cowrie shells the size
and shape of the watermelons the artist uses as molds to generate them.
Sentinel
, standing
at the center of the rotunda gallery, references an important genre of African diasporic artwork
called power objects, believed to possess inherent divine energy and knowledge. Leigh�s sculpture combines an
elongated female form with an object traditionall
y used in fertility rituals. The work�s title, which denotes the act
of watching over, casts the figure as an observant presence within the exhibition.
The sculpture
Sharifa
and the film
Conspiracy
are joined in a call and response in the Pavilion�s penu
ltimate gallery.
The film captures aspects of the sculpture�s making, and together, they expand on narratives of care, labor, and
creation
.
Sculpted from life after the writer Sharifa Rhodes
-
Pitts,
Sharifa
is the first portrait made by Leigh. Along
with artist Lorraine O�Grady, Rhodes
-
Pitts is also featured in the film
Conspiracy
, made collaboratively with
filmmaker Madeleine Hunt
-
Ehrlich.
Conceived as a chorus of figures, the group of works assembled in
the final gallery are crafted in ceramic and raffia,
two materials that have long been central to Leigh�s practice. Clay forms the basis of most of Leigh�s artworks
�
including her bronzes, which are all first sculpted in clay
�
and the artist pushes the mediu
m�s possibilities through
scale and method. Taken together, the works in this room demonstrate Leigh�s continued use of forms and
processes that have traditionally been gendered and that send up essentialist ideas of the Black femme body.
The ICA is org
anizing Leigh�s first survey exhibition
�
including works from the U.S. Pavilion
�
and a major
monograph to be presented in Boston in March 2023.
Following its debut at the ICA, the exhibition will tour
nationally to the Hirshhorn Museum and Sculpture Garden
in Washington, D.C. (Fall
/Winter 2023/24),
and a joint
presentation at the Los Angeles County Museum of Art (LACMA) and California African American Museum (CAAM)
in Spring
/Summer 2024
in Los Angeles, CA.
Useful information for the visit
Hours:
Gardens from 10.00 to 19.00. Arsenale from 10.00 to 19.00 (from 10.00 to 20.00 on Friday and Saturday until September 30th). Closed on Mondays (except May 13, September 2, November 18).
Tickets: please visit the official website.
Phone: +39.041.5218711; fax +39.041.5218704
E-mail: aav@labiennale.org
Web: Biennale
of Venice |