Spectacles. Speculations… posits imaging as emerging from a multiplicity; as code or as a system of perceptible elements necessarily political. If we consider the spectacle as images proliferated through capitalist modes of production that come to mediate human experience while eschewing political agency, the exhibition takes a contemporary approach to analyzing the ways in which it has evolved in a globalized economic order through new technologies and traditional media. The spectacle appears as an autonomously separate power that reinforces distance and alienation. Since the past century, the spectacle has been understood as an alienatory system or a regime of images manufactured by the ruling class to subvert reality and indeed to replace it. Distance becomes a critical component in this dynamic: the chasm created between individuals’ interpersonal relations, the distance between the worker whose labor produces commodities they are estranged from by virtue of their wages, between the rich and the poor, between artist and spectator, between spectatorship and the art work, between agency and passivity, and so forth…
The role of images in the ideological wars of this period in history (chiefly between capitalism, socialism, communism and fascism) played out in art as well. Filmmakers, artists, dramatists and intellectuals alike from the Soviet Union, Europe, North America, Latin America and Africa contributed significantly to the class struggle of the twentieth century through their practices of which specific ones will be discussed in a forthcoming essay titled Spectacles. Speculation…: In Terms of Images.
The progressive solution was to abolish this distance, to massify, (in terms of deasthetization and de-skilling) and to de-commodify the art object such that ownership and spectatorship will not remain the exclusive preserve of trained experts and of property-owning classes. There are many lessons to be learnt from practitioners of this political position, but in order to come to terms with the spectacle in the twenty-first century this pre-digital thesis would need to be updated since the spectacle cannot be said to possess the same characteristics today. The spectacle has achieved greater sophistication in content, form and effect. For example, it has become more participatory than ever in the digital paradigm where photography and film have achieved such proliferation, massification and de-skilling through computers and smart technologies that one only needs a portable device like the mobile phone to become a photographer or filmmaker. Couple this with the possibilities of collaboration and dissemination offered by the Internet. Yet the spectacle endures. Smuggling authority, alienation and commodification back into this pseudo-egalitarian dynamic.
With the domination of the capitalist politico-economic ideology around the world after the Cold War in 1989, the spectacle has essentially remained the same reactionary apparatus used in service of capitalism but has revolutionized itself by way of content and form through its appropriation of modern techno-scientific triumphs.
The exhibition responds to these issues by dialectically restaging elements of the spectacle in order to diagnose it for what it is, to be confronted by its complexity from which point we can begin to critically speculate new realities for art. The exhibition features works by fourteen artists based in Africa, Latin America and Europe who are, in respective ways, intervening in their chosen image-making technologies and inventing new visual, gestural and auditory modalities of practice that incorporate post-human forms of interaction. With site-sequencing strategies consisting of an ensemble of objects and forms sited across conceptual (discursive), literal and virtual dimensions, the exhibition displays a spectrum of mediums including braille, text, photography, video, film, sound, black box theatre, computer-aided design, installation, sculpture, and spoken word poetry.
Click here for curatorial statement.