WITNESS: Afro Perspectives from the Jorge M. Pérez Collection at El Espacio 23
Enfant I & Enfant II, 2019 by Maurice Mbikayi
Collaboration with Nicola Holgate
Computer Keys and mixed media
When visiting a gallery founded by one of the most infamous collectors in Miami, you may have to go twice to really take it in. I’ve had the pleasure of visiting the El Espacio 23 gallery for the second time recently and I can say it definitely trumped my first experience, especially being that I had way more time and mental space to truly explore.
The exhibition they currently have on display is titled, WITNESS: Afro Perspectives from the Jorge M. Pérez Collection. From my first experience, I was not quite sure how to quite critique this exhibit. This is due to the fact that I’ve visited many African Diaspora exhibitions and even though I appreciate the further representation within galleries, there is something else that I believe is not discussed as often as it should be within the art world today. This being the constant phenomena of white and other non-black curators / gallerists representing Black trauma art to portray a message that they themselves may not even abide by.
Pulling the Strings, 2013 by Richard Mudariki
Oil on Canvas
It was not until I visited this exhibition a second time and did further research where I was able to check myself and realize that this was not the case here. Jorge M. Pérez is one of the leading curators and philanthropists in the Miami art scene, he’s known to have donated over $60 million to the Perez Art Museum Miami and is now the founder of El Espacio 23. He has donated to several charities and programs in Miami designed to support the arts communities, such as the National YoungArts Foundation, YMCA, and the Big Brother Big Sisters of Miami. I also came to learn that the guest curators consisted of Zimbabwean curator Tandazani Dhlakama, Assistant Curator, Zeitz MOCAA, in collaboration with Pérez Collection curators Patricia M. Hanna and Anelys Alvarez.
Spirit Matter, 2016 by Penny Siopis
Glue, ink, and oil glaze on canvas
As I previously mentioned, I had way more time to truly delve into the works a bit more and truly explore the space. El Espacio 23 is one of the most beautiful art spaces I’ve came across in Miami in a while. I say this due to it’s vast openness, constant pockets of light entering from the ceiling that adds an interesting ambience to the works, and the extraordinary interior design of the space. I also want to point out that for such an expansive exhibition, I appreciate how they sectioned each compartment of this exhibit by different themes of systemic oppression and how the title Witness plays into the narrative of how as witnesses to intergenerational trauma play an implicit role in allowing systemic oppression to continue. There are a few artworks that truly captivated me that I would like to discuss.
African Spirits (St. Sebastian), 2008 by Samuel Fosso
Gelatin silver print mounted on Dibond
The first artwork you are greeted by when you enter the space is a Muhammed Ali inspired photograph by French and Central African artist, Samuel Fosso titled African Spirits. What first stood out to me about this work was the confrontational scale and great use of light and shadow. Fosso is known for his stark self-portraits reinterpreting black cultural icons. Fosso’s pose and the use of arrows penetrating his skin had me ponder on this artwork possibly containing a crucifixion reference, which is valid due to the way Muhammed Ali was crucified throughout his boxing career for having a voice. Overall placing this photograph as the introductory artwork was a great decision in terms of getting viewers more captivated to further explore.
The video works featured in this exhibition had me on the edge my seat, one video work I want to discuss in particular is a short film by Kiluanji Kia Henda titled, Concrete Affection - Zopo Lady. This short film consists of many shots of empty cityscapes that got me to question my relationship to my environment. It is almost as if society up and left, each clip cuts into uninhibited scenes alongside a narrator recounting what seems to be his personal experience or a dream. This allowed viewers such as myself to almost imagine these scenes or experiences that the narrator recounts. The eerie intensity of background sounds and the narrative voice became more intense towards the end as it began to add this fear factor that had my heart racing anticipating what may come next, truly leaving me on the edge of my seat.
At a Crossroads, 2020 by David Shrobe
Oil, acrylic, and graphite on paper, steel, wood, flocking, wool tweed, faux suede, vinyl, fabric, linen, and bookbinding cloth mounted on carved wood
My favorite artwork out of this entire exhibition had to be the multimedia artwork by David Shrobe titled, At A Crossroad. What first gravitated me to this work was the use of materials and the oval frame shape. I always get jitters when artists step outside of the traditional square frame and also use an expansive amount of materials. The sharp cuts in materials almost act as a space in time, but yet they all connect. There is this strong conversation of attachment yet detachment that I conjured from this artwork, while also opening up the floor to many other dialogues. Overall this is a very expansive exhibit that takes you on a journey, I highly recommend booking a visit. The show will be up until Winter 2021.