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UPDATE: We have just interviewed the artist, Geandy Pavon, and you can read the full Q&A here.
In the video (seen below), Pavon appears to be standing in the bushes near the bike path running along Twelfth Ave, just across the road from the Chinese Consulate (520 Twelfth Ave). Pavon manipulates a pool of liquid sitting on top of the projector until the image becomes clear, and suddenly Ai’s face appears ten stories tall. A group of bikers stops by to compliment his work.
The piece is part of Pavon’s Nemesis project, original conceived to “protest and bring to light the death in a hunger strike of Cuban prisoner of conscience Orlando Zapata Tamayo while in custody of the Cuban government,” the artist writes in a press release. “The concept of the project is to impose the face of the victim on buildings walls that house government offices … The light on the wall is a symbol of revelation.” Find some details of the earlier Nemesis project in this National Review article. Ai’s face appears like a visitation, a message from a figure currently unable to communicate openly.
It’s incredibly gutsy for Pavon to have gone right to the source to protest so directly. The “Nemesis Ai Weiwei” piece created a much more iconic single image than the 1001 Chairs for Ai Weiwei protest, and that one image is a powerful thing — an artist who is perceived as an enemy by the Chinese government suddenly appearing on their political ground in the United States.
- The Guardian has published an important article on the members of Ai Weiwei’s circle who remain missing and have not yet been heard from. These include reporter Wen Tao, driver Zhang Jinsong, accountant Hu Mingfen and designer Liu Zhenggang.
Editor’s Note: This endorsement is part of a special edition that Hyperallergic published on the ongoing legal case to return the photos of Renty and Delia Taylor to their descendants. * * * Your Honour — On April 11, 2018, The New York Times published a report on the differential outcomes for maternal and infant…
he ownership of images has a long and nuanced legal history, which has evolved dramatically in recent years as cultural standards and photographic technologies have rapidly advanced
The show, which honors the 50th anniversary of an exhibition history once ignored, continues a series of projects documenting Wilmington’s contemporary art scene.
Renty and his daughter Delia. Renty was an enslaved African, kidnapped from the Congo, sold and forced into slave labor on the South Carolina plantation of B.F. Taylor
What is the relation between possessing a person, possessing their image, and dispossessing their progeny
As a scholar of African American history and photography whose work has focused on the status of violent images in museums and archives, I fully support the validity of Ms. Tamara Lanier’s claim and the amicus brief.
Two K-12 art teachers will each receive a $1,000 cash gift and an additional $500 to put toward classroom art supplies. Nominations are due October 31.
The daguerreotypes of Renty Taylor, Delia, Drana, Alfred, Jack, George Fassena, and Jem remained in an unused storage cabinet until 1975, when it was discovered by an employee of the Peabody Museum.
I am writing in support of the amicus curiae brief submitted by Professor Ariella Aïsha Azoulay of Brown University for the full restitution of the daguerreotypes of Renty Taylor and his daughter Delia, currently held by Harvard University, to their familial descendant, Tamara Lanier.
We cannot be indifferent to the long-lasting effects of photography. The photographs at the center of Lanier v. Harvard are relentless in making Renty and Delia Taylor work and perform as slaves. The pain inflicted on them has not ceased. Photography has the capacity to propagate harm, and we have the moral obligation to interrupt…