What information is ‘In Plain Sight’?
Over the past few weeks, I noticed Tavares Strachan’s name pop up several times on social media. I was lucky enough to catch this immersive show before it closed on 24 October 2020. The biggest lesson I learned from this show was always have a pen and paper on you…
When I think about this exhibition, the first word which comes to mind is knowledge. Particularly, how Strachan chose to disseminate knowledge. As a conceptual contemporary artist, Strachan’s practice ‘activates the intersections of art, science and politics, offering uniquely synthesised points of view on the cultural dynamics of scientific knowledge’ (Isolated Labs). An introduction to Strachan’s practice can be seen from his ongoing project The Encyclopedia of Invisibility (2018-present) which was on display. Here, Strachan brings our attention to the life and work of Matthew Henson (1866–1955). Across three walls, Strachan incorporates mixed-media to share this overlooked story of an African-American explorer.
Strachan also makes use of collaging text and vibrant imagery juxtaposed in a dark gallery space. Both well-known and lesser-known historical figures are embedded in these works which include Haile Selassie, James Baldwin, Princess Diana and Ahmad Jamal. Unfortunately, no photos were allowed to document this extensive information. However there are photos online which captures the scale and interaction between the pieces and the gallery spaces.
The gallery space was split into four separate spaces, with two side rooms. The audience was informally guided through each space by impromptu performances by three actors. This entailed a group, duo and solo performances which were dependent on the spaces they occupied. This was not something I was expecting, nor was this an experience I had ever encountered before in a gallery. Over time, I found this theatrical intervention almost comforting as I felt a deeper connection with the exhibition narrative and space, at a time in which we are physically separated from each other. After sidestepping into a mini greenhouse and a bedroom — resembling that of the generation of my grandparents — the performers led the group upstairs to the Distant Relatives display. Here, there were three rows of life-sized busts each behind a mask, unable to catch their eyes. For Strachan, this was a dialogue between these researched figures from history, whose stories have been lost or omitted (Marion Goodman Gallery, 2020). I’d encourage you to check out the following figures Strachan has highlighted because each person has changed the course of history:
