Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Pictured as a Poem
KAI10 Arthena Foundation, Düsseldorf
17 October 2021 – 23 January 2022
One Escape at a Time
11th Seoul Mediacity Biennale, Seoul
8 September – 21 November 2021
Born 1970, Baltimore. Lives and works in Philadelphia.
The Common Guild, Glasgow (forthcoming)
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
Everything Else Has Failed! Don’t You Think It’s Time For Love?
In ‘Everything Else Has Failed! Don’t You Think It’s Time For Love?’, five PA speakers stand in a line, like a line of speaking bodies, projecting the five addresses that Sharon Hayes spoke from a busy street corner in New York City. Emerging from the corporate headquarters of UBS in midtown Manhattan, Hayes stood at the corner of 51st St and Avenue of the Americas, at lunchtime everyday for a work week, to speak to an anonymous lover.
Beginning ‘My dear lover’ or ‘my sweet lover,’ the texts Hayes spoke were addressed to an unnamed “you” who the speaker was separated from for some unexplained reason. Woven in between comments on and about personal longing and desire, were comments about politics, war and the trauma and dislocation of living in a moment of war.
By inserting ‘private correspondence’ into a scene of public speech, ‘Everything Else Has Failed! Don’t You Think It’s Time For Love?’ provokes questions about the territory of the space of the ‘political’ and the ‘unspeakable’ as it relates to love, enforced normativity and the mythic notion of ‘free speech.’