Itinerant Belongings

Saturday, 1 November 2014Saturday, 20 December 2014

Slought, 4017 Walnut Street, Philadelphia
Addams Fine Arts Hall, 200 S. 36th Street, Philadelphia

Itinerant Belongings

Slought Exhibition

The exhibition examines how artists have engaged with ideas of homeland and belonging that fail to cohere to a unitary sense of time or place. Through film, photography and performance, the artists in this exhibition explore the contours of belonging across different contexts - from the invention of nationalist social rituals to the homecoming of veterans, from the trope of the "haunted" house to that of the family portrait. By bringing together the work of an international group of artists approaching home as a volatile concept, this exhibition examines how fantasies of belonging involve complex psychic and affective responses to specific material and historical conditions informed by race, gender, sexuality and class.

"Itinerant Belongings" grounds this inquiry by revisiting critical debates that bridged activism and art in the 1980s and 1990s. Responding to the presence of the homeless, the displaced, and the disenfranchised in American cities, two of the artists in the exhibition, William Pope.L and Krzysztof Wodiczko, produced projects in this critical moment that questioned the very notion of what it meant for a space to be "public." This exhibition aims to reanimate this dialogue and extend it to a contemporary global landscape marked by mass displacement, armed conflict, and debates around borders and immigration.

Work by Yael Bartana, Jamie Diamond, Andrew Moore, William Pope.L, Paul Salveson, Jessica Vaughn, Apichatpong Weerasethakul, and Krzysztof Wodiczko will be on display at Slought and the Addams Gallery at PennDesign, and viewers are encouraged to take an itinerant path from one exhibition site to another.

More information

Images top to bottom: William Pope.L, Still, How Much is that Niggerin the Window a.k.a. Tompkins Square Crawl, 1991. Apichatpong Weerasethakul, still from Haunted Houses (2001). Courtesy kickthemachine.

Acknowledgements

Slought and Penn's History of Art and Fine Arts Departments are grateful for generous support from the Sachs Programming Fund; Provost's Interdisciplinary Arts Fund; History of Art Department; Fine Arts Department; Annenberg School for Communication; Cinema Studies; Penn Humanities Forum; Kaja Silverman/Mellon Foundation Distinguished Achievement Award; Gender, Sexuality and Women's Studies; Center for Ancient Studies; Visual Studies; Center for Africana Studies; Religious Studies Department; Department of Germanic Languages and Literatures; Wharton Women in Business; Jewish Studies; School of Social Policy and Practice; Urban Studies; and the Wharton Graduate Media & Entertainment Club.

In-kind support from Fireball Printing.