One Escape at a Time
11th Seoul Mediacity Biennale, Seoul
8 September – 21 November 2021
Yesterday we said tomorrow
Prospect 5 Triennial, New Orleans
23 October 2021 – 23 January 2022
Born 1970, Baltimore. Lives and works in Philadelphia.
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)
One Escape at a Time, 11th Seoul Mediacity Biennale, Seoul (forthcoming)
New Grit: Art & Philly Now, Philadelphia Museum of Art (forthcoming)
Glasgow International, The Common Guild, Glasgow (forthcoming)
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
Fingernails on a blackboard: Bella
‘Fingernails on a blackboard: Bella’ investigate how voice acts as the embodied medium of speech. Hayes takes the 1977 National Women’s Conference in Houston, TX as a historical point of departure. The 1977 conference was a result of an executive order to assess the status of women in light of the United Nations proclaiming 1975 as International Women’s Year. Following the well attended and highly publicized event, an extension was granted for the ratification of the Equal Rights Amendment. But having only been ratified by 35 states by the 1982 deadline, the amendment never passed.
The video work uses the transcript of a meeting between politician Bella Abzug – the New York Congresswoman who was appointed to head the National Women’s Conference – and her vocal coach. During their meeting, the pair work at neutralizing Abzug’s regional accent and softening her tone – strategically altering her voice to something more universal and soothing.
‘Fingernails on a blackboard: Bella’ addresses the political consequences of gender and the specific limitations of power, communication and relatability in the specter of public speech.