memorializing otherwise

GABRIELLE GOLIATH +
KEN LUM +
​DEBORAH ANZINGER

NOV 19 AT NOON

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For our November Third Thursday event, "Memorializing Otherwise" on November 19th at Noon, we joined Ken Lum, Deborah Anzinger, and Gabrielle Goliath in discussion about monumentalization and questions around intimacy and embodiment.

Is it possible to publicly narrate the past, and document the present, in ways that move beyond permanence and monumentalization? What would it mean to think in terms of materiality not in relation to landscape but instead in terms of embodiment? 

Participants Ken Lum, Deborah Anzinger, and Gabrielle Goliath  addressed these questions and others in conversation with participants. Gabrielle Goliath drew from her work "Elegy 7" which can be viewed here.

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As always, Third Thursdays are free and open to the public   

GABRIELLE GOLIATH

Gabrielle Goliath situates her practice within contexts marked by the traces, disparities and as of yet unreconciled traumas of colonialism and apartheid, as well as socially entrenched structures of patriarchal power and rape-culture. Enabling opportunities for affective, relational encounters, she seeks to resist the violence through which black, brown, feminine, queer and vulnerable bodies are routinely fixed through forms of representation. Goliath has exhibited widely, most recently in Our Red Sky, Göteborgs Konsthall, Gothenburg. Her solo exhibition, This song is for... is currently installed at the Iziko South African National Gallery, Cape Town, and will open later this year at Konsthall C, Stockholm. She will also present a new work in December 2020 by commission of the Kochi-Muziris Biennale. Goliath has won a number of awards including a Future Generation Art Prize/Special Prize (2019), the prestigious Standard Bank Young Artist Award (2019), as well as the Institut Français, Afrique en Créations Prize at the Bamako Biennale (2017). Her work features in numerous public and private collections, including the TATE Modern, Iziko South African National Gallery, Johannesburg Art Gallery, and Wits Art Museum. She is currently a Ph.D. candidate with the Institute for Creative Arts at the University of Cape Town, South Africa.

KEN
​LUM

Ken Lum is an internationally recognized contemporary artist, having participated in numerous important exhibitions such as Documenta, the Venice Biennale, Sao Paolo Bienal and Whitney Biennial. A longtime professor, he currently is the Chair of Fine Arts at the University of Pennsylvania’s School of Design in Philadelphia. He is co-founder and founding editor of the Yishu Journal of Contemporary Chinese Art. He is a prolific writer and has has been six times a keynote speaker at major events, including at the 2010 World Museums Conference in Shanghai, and the 2006 Biennale of Sydney in Sydney, Australia. A book of his writings titled Everything is Relevant: Writings on Art and Life 1991 – 2018 was published in 2020 by Concordia University Press. Since the mid 1990s, Lum has worked on numerous major permanent public art commissions including for the cities of Vienna, Rotterdam, St. Louis, Leiden, Utrecht, Toronto and Vancouver. Lum has a curatorial record including co-curating Shanghai Modern: 1919 – 1945; Sharjah Biennial 7, Sharjah, United Arab Emirates and Monument Lab: Creative Speculations for Philadelphia. Lum is the co-founder and Chief Curatorial Advisor to Monument Lab, a public art and history collective founded in Philadelphia

DEBORAH ANZINGER

Deborah Anzinger is an artist and founder of New Local Space (NLS), Kingston, Jamaica. Anzinger’s work was the subject of a solo exhibition at the Institute of Contemporary Art (University of Pennsylvania, Philadelphia) and has been exhibited at Pérez Art Museum Miami; Museum of Contemporary African Diasporan Art, Brooklyn; National Art Gallery of the Bahamas; and National Gallery of Jamaica. Her work is published in Small Axe Journal (Duke University Press), Caribbean Quarterly (Taylor & Francis), Bomb Magazine, Art Papers, The New Yorker and Artforum. Anzinger was recipient of a Pollock-Krasner Foundation Grant and a fellowship to Skowhegan School of Painting and Sculpture. She is a 2020 Soros Arts Fellow. As part of the Soros Arts Fellowship, Anzinger is creating archival arboreal sculptures called Training Stations in Maroon Town located in Jamaica’s Cockpit Country, an historical site of refuge from the Transatlantic slave trade for Maroons, and a major source of freshwater and biodiversity in the country. The title of the project references the Ground Truthing process used by the government to redefine the boundaries for mining operations and encroachment into The Cockpit Country Protected Area. Training Stations however proposes an alternative set of parameters to redefine the identity of this space based on the interconnectedness of land, ecologies, histories and lived realities.