The focus series exhibition In All My Wildest Dreams is the first American museum show devoted to the work of Kemang Wa Lehulere (born Cape Town, 1984). Internationally recognized for his masterful conflation of personal and collective storytelling, Wa Lehulere reenacts what he calls “deleted scenes” from South African history, often animating individual narratives of exile or displacement through means that are ephemeral, found, and notational—chalk drawings on blackboard surfaces, intense but short-lived performances, salvaged wood from old school desks, sketchbook pages, letters written to friends, strangers, and public institutions—as if to suggest the gallery as a fantastical, crucially temporary classroom. “History continually disappears,” Wa Lehulere has said. “It comes and goes. It is not something fixed; it is malleable. . . . It is the elasticity of history that excites me.” At the same time, he describes his work as a “protest against forgetting”; history is constructed, and memory is fragile.
Beginning with the title of his Art Institute exhibition, Wa Lehulere invokes not only the past and an imagined future but also a present in which dreams might materialize. New sculptures, paintings, video, and a wall carving demonstrate the artist’s evocative visual language through certain recurrent motifs—imagery of rehearsing, revising, and recovering, for instance, or signifiers of travel, transit, and mobility, such as used suitcases, tires, wooden crutches, and a trio of suspended “paper planes.” More than 20 ceramic dogs suggest tchotchkes and, more solemnly, household guardian figures. Dozens of small drawings reveal the artist’s working process.
At the heart of this show is a vigorous performance work, Echoes of Our Footsteps (A Reenactment of a Rehearsal). Video of the piece, as performed by Wa Lehulere and Chuma Sopotela, is shown on a loop in front of a demarcated but empty performance space that appears to be waiting for its actors. Any artwork could be understood as the record of an artist’s thought and activity, but for Wa Lehulere, questions of residue and memory, of physical presence and palpable absence, are instrumental—at once aesthetic and ethical—rather than merely incidental.
Thefocusexhibition Kemang Wa Lehulere: In All My Wildest Dreams is organized by the Art Institute of Chicago.
Ongoing support for focus exhibitions is provided by the Alfred L. McDougal and Nancy Lauter McDougal Fund for Contemporary Art.
Additional support for Kemang Wa Lehulere: In All My Wildest Dreams is contributed by the Evening Associates, The Joyce Foundation, Pamela J. Joyner and Alfred J. Giuffrida, and Helyn Goldenberg and Michael Alper.
In-kind support for this exhibition is provided by Christopher E. Olofson.
Annual support for Art Institute exhibitions is provided by the Exhibitions Trust: Neil Bluhm and the Bluhm Family Charitable Foundation; Jay Franke and David Herro; Kenneth Griffin; Caryn and King Harris, The Harris Family Foundation; Liz and Eric Lefkofsky; Robert M. and Diane v.S. Levy; Ann and Samuel M. Mencoff; Thomas and Margot Pritzker; Anne and Chris Reyes; Betsy Bergman Rosenfield and Andrew M. Rosenfield; Cari and Michael J. Sacks; the Earl and Brenda Shapiro Foundation; and the Woman’s Board.
5 hours 10 sec ago The Art Institute of Chicago “One day, I had a dream… there were three black boots in the middle of the road, with very high houses."
These are the words of Tarsila do Amaral, one of the leaders behind Anthropophagy, a national art movement that arose in 1920s Brazil with the goal of “cannibalizing” aspects of European modern art in order to make a new, more distinctly indigenous style. #5WomenArtists
Explore Tarsila’s work in depth when Tarsila do Amaral: Reinventing Modern Art in Brazil opens at the Art Institute this October.
Image: Tarsila do Amaral. City (The Street), 1929. Collection of Bolsa de Arte.
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Whether majestic skyscrapers, eye-catching museums, or sprawling residential complexes, buildings emerge from intricate, lengthy processes of design and construction that involve a host of different actors. The New York–based group Who Builds Your Architecture? (WBYA?), who gives the show its name, presents research related to migrant workers and the global construction industry.
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