Fondazione Sandretto Re Rebaudengo, Turin
5 November 2021 – 30 January 2022
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Born 1970, Baltimore. Lives and works in Philadelphia.
Ricerche, The Common Guild, Glasgow
An Army Of Lovers Cannot Lose, Tanya Leighton, Berlin with Kristina Kite Gallery, Los Angeles
I March in the Parade of Liberty but as Long as I Love You I’m Not Free, New Museum, New York
Nel Mezzo, Tanya Leighton, Berlin
Echo, Moderna Museet, Stockholm
Yesterday we said tomorrow, Prospect 5 Triennial, New Orleans (forthcoming)
Pictured as a Poem, KAI10 Arthena Foundation, Düsseldorf (forthcoming)
One Escape at a Time, 11th Seoul Mediacity Biennale, Seoul
Burning Speech, Fondazione Sandretto Re Rebaudengo, Torino
New Grit: Art & Philly Now, Philadelphia Museum of Art
Mapping the Collection, Museum Ludwig, Cologne
Commonwealth, Institute for Contemporary Art, Virginia
Read My Lips, Museum of Fine Arts, Boston
The Politics of Rhetoric, The Print Center, Philadelphia
An Ear to the Sounds of Our History
In ‘An Ear to the Sounds of Our History’, Hayes draws on her extensive archive of spoken-word vinyl records. The collection dates from 1948 to 1984, tracing a period when political speech was often recorded on and disseminated through vinyl records. Using the album covers to stand as symbols for various political movements throughout history, Hayes has arranged them in a grid to create “sentences” in which incongruent historical moments converge. In doing so, she invites viewers to draw connections between different political moments, and raises questions about the accessibility, dissemination, and preservation of free speech.
The work was initiated as a performance entitled ‘Spoken Word DJ’ at the Guggenheim Museum in New York in 2010 as part of the exhibition ‘Haunted’, in which Hayes mixed and sampled the original records. An adapted version was subsequently shown at the 2011 Venice Biennial in the exhibition ‘Speech Matters’ at the Danish Pavilion - displayed as a wall installation of 110 record covers. The work has since been grouped into ‘sentences’ of varying lengths, looking at the systems of distribution that have determined whose voices predominate and whose have been all but forgotten to history. The series has been shown in Hayes’ recent solo exhibitions at The Art Institute of Chicago (2011); ‘Habla’, Museo Reina Sofia, Madrid (2012); and ‘There’s so much I want to say to you’, Whitney Museum of American Art, New York (2012).