Born 1970, Baltimore. Lives and works in Philadelphia.
Art on the Underground, London (forthcoming)
What Do We Want, Neuer Berliner Kunstverein, Berlin
Ricerche, The Common Guild, Glasgow
An Army Of Lovers Cannot Lose, Tanya Leighton, Berlin with Kristina Kite Gallery, Los Angeles
(Wahl-) Familie, Die, Wir, Sind, Kunstmuseum Ravensburg
What is the Proper Way to Display a Flag?, Museum für moderne Kunst, Weserburg
Paint the Protest, Off Paradise, New York
To Begin Again: Artists and Childhood, The Institute of Contemporary Art, Boston
Shifting the Silence, SFMoMA, San Francisco
Performing Past-Present: Transforming Reenactment, Cantor Fitzgerald Gallery, Haverford College, Pennsylvania
A Decade of Acquisitions of Works on Paper, The Hammer Museum, Los Angeles
After August Sander, Museum für Gegenwartskunst, Siegen
All that We Have In Common, MoCA Skopje, North Macedonia
Yesterday we said tomorrow, Prospect 5 Triennial, New Orleans
Pictured as a Poem, KAI10 Arthena Foundation, Düsseldorf
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
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.’