Representing the U.S. at la_Biennale, artist Simone Leigh's exhibition 'Sovereignty,' commissioned by ICAinBOSTON, is full of works representative of Black women across the diaspora and what they have done, not what was done to them.
Simone Leigh altered the exterior of the U.S. pavilion to give it the appearance of a traditional African rondavel.
On April 23, Leigh’s exhibition, “Sovereignty,” opens to the public, representing the United States at the 59th International Art Exhibition at the Venice Biennale. During the press conference for the exhibition, Leigh said, “I chose the title sovereignty because I was trying to point to ideas of self-determination — and also to, now, the fourth or fifth generation of Black feminist thought.
This year, Leigh has added to the pavilion, creating a thatched roof reminiscent of traditional African rondavels that is held up by wooden columns. The changes she made are striking and create a bold juxtaposition to the Jeffersonian building.Leigh creates art within a distinctive canon: critical fabulation, a term coined by her friend and collaborator Saidiya Hartman. Much is left out of the archive because of systemic racism, secrecy borne out of safety, and suppression.
The power that exudes from Leigh’s art is unrelenting. Faceless Black women stand tall, often sporting skirts made of raffia, West African palm trees, and cowrie shells, used as jewelry and decoration across the African diaspora and were once a currency across the African continent. Her ceramic and bronze statues are faceless for a reason — they are not portraiture. This frees up her art, which perhaps is a part of what makes it so visceral.
France Dernières Nouvelles, France Actualités
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