Performing Histories / Histories Re-Imagined offers an insight into photographic approaches that critically engage with ‘the archive’ to re-address the past and bring to the fore histories that have been overlooked.
Artists: Alba Zari, Amin Yousefi, Eleonora Agostini, Emi O’Connell, Jermaine Francis, Laura Chen, Odette England, and Tarrah Krajnak.
Three ways of working with archives are presented in the exhibition. In some works, photographers place themselves at the centre of the archive and re-enact histories that have been forgotten. Others imagine histories that allow them to make sense of the world or to discuss fiction and truth in photography. Lastly, some give new meanings to archival materials by interrogating the gaze within the history of photography.
Together the work of these eight photographers explores the relationships between the archive and time and memory, the public and the private, fact and fiction, and trauma.
Two bodies of work in this exhibition contain reference to abuse and another references slavery, which some individuals may find troubling. Alba Zari’s Occult interrogates the teachings of a Christian fundamentalist cult including underage prostitution and coercion. Emi O’Connell’s and then I ran explores enforced separation of mother and children in Ireland. Jermaine Francis’ Once Upon a Time references slavery in the West Indies.
Launching at Peckham 24 in London, during the largest annual weekend of photography in the UK, the exhibition will tour to Impressions Gallery this summer.
This exhibition is co-curated by Peckham 24 and Impressions Gallery.
Past Paper // Present Marks: Responding to Rauschenberg
Photography by Jennifer Garza-Cuen and Odette England
Texts by Dr. Susan Bright, David Campany, and Nicholas Muellner
In 2018, Jennifer Garza-Cuen and Odette England spent a week at the Robert Rauschenberg Foundation Residency in Captiva, Florida, collaborating on a series of nearly 200 photograms. The images were made in Rauschenberg’s swimming pool, using expired 1970s gelatin silver paper found in his darkroom. The two artists ‘activated’ the paper by piercing or slashing the bags and envelopes using pens, scissors, or knives; folding the silver paper at odd angles; or layering them inside the bags. Some sank to the bottom of the pool, while others floated on top or by the filtration units. Exposures were made overnight and throughout the day, allowing different levels and intensities of sunlight, moonlight, and water to penetrate the paper.
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