Our visit last week to the Lousiana Museum north of Copenhagen had us take in four different exhibits that made an impression on me. One of them was Magnumb about the work of Arthur Jafa.
At first I was taken in by the beauty of this sculpture, right before realising the scars of violence it shows, based as it is on a iconic image from the US civil war era.
Ex-Slave Gordon, Arthur Jafa 2017, Vacuum-formed plastic. At the Louisiana Museum, image by Ton Zijlstra, license CC BY NC SA
Then there was the in part highly disturbing imagery of Jafa’s cinematography, making one recoil, yet at the same time because of its composition and sequencing pulling you in, making you stare. Having returned home, I found the interview below on the Lousiana Museum’s Vimeo channel, where Jafa talks extensively about his work.
I think it’s a highly fascinating interview, in its full 42 minutes. Particularly how Jafa talks about imagery, perceptions of good and evil, and imagined audiences for the things you create.
He talks about collecting images as (my phrasing) commonplacing, as taking ownership of something that otherwise might have been highly transitional even if important. How he sees the human reaction of disgust and recoil while watching something as a signal to look much closer, even stare at it. That the ubiquity of mobile phone cameras enable all to do such collection of imagery, how it permits everyone to capture things. Such as the violence against African Americans, which has been always there and is nothing new. The newness is how all of us are enabled to make it visible in new ways, on a new level of intensity.
He talks about the spectrum between good and bad, hence the title of the interview ‘not all good, not all bad’. That us typically wanting to pigeonhole someone or something as either good or bad, before finding out an aspect about it that doesn’t fit, should not lead to then fully switching to labeling it the opposite. You have to get comfortable with the discomfort of juggling different and opposite notions about someone or something at the same time.
He talks about the intended audience for his work, whom he is speaking to. “My work addresses black [American] people, everybody else gets to listen in.” How having a limited imagined audience for your work is not an exclusionary act. How it is something that breathes life into the work, injects meaning and passion into a creative expression, impossible to achieve if that work would have been imagined for everyone. After which that life, meaning and passion can be appreciated as well by anyone outside those that are originally being addressed.