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Hilmas Ghost posits alternative creative and spiritual practices as tools for individual and collective transformation by celebrating the esoteric and the unquantifiable.
The semiotic possibilities inherent in a passing tone, a non-chordal interstice between two dominant chords, hold both the capacity to conjoin and the potential to rebuff its modal order. A visit to Jennie C. Joness Passing Tones and Broken Chords at Alexander Gray Associates outpost in Germantown, New York, finds her not merely continuing to mine the juncture of sonic and sculptural forms, but playing within the fertile furrow of negative space between rigid hegemonic structures.
The semiotic and material sampling Biggers plays with reveals a fidelity to the movement of the body as expression of autonomy and to the repurposing of messaging as tools for creating new worlds. Both the vernacular of quilts and the ontology of dance embody these fleeting dispatches: carefully delineated calls to action. Codeswitch, faithful to its name, sees Biggers stepping with ease between and among vernacular and notated history, a skill that avoids easy reduction and co-option.
Throughout Marking Time: Art in the Age of Mass Incarceration, we can see artists, some currently incarcerated, emerging from indeterminacy, indicating and reconfiguring an existence in constant threat of being snuffed out.
The objects Salane has amassed function quietly and intently towards the preservation of an ideal. I leave the show cognizant of their quiet solitude, a negative space formed by the absence of both worker and body. Each object is a mere starting point for a thick web of information and history that includes fingerprints and leaning elbows, boredom and the buzz of commerce.
One hears Baseera Khans I Am an Archive exhibition at The Brooklyn Museum before one can see it.