Grace Jones, NYC, 1970s. Photograph by Anthony Barboza
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A cross between fan-fiction, study and biography, Grace Before
Jones: Camera, Disco, Studio departs from the iconic singer’s career and her
collaborations with artists, designers, photographers and musicians to question
black image-making and gender binarism as well as both performance and the
performance of life.
In 1979, Grace Jones had her face moulded by her collaborator and
then-partner Jean-Paul Goude to produce multiple ultra-realist masks. These
were intended to be worn by fellow musicians, performers and models, but were
also for herself. Grace Jones had multiplied, turned herself into sculpture and
serial form – an armada of Grace. Departing from the observation that Grace
Jones is not one but multiple, the exhibition Grace Before Jones: Camera, Disco,
Studio unfurls a range of Grace Joneses: from disco queen to dub cyborg;
Jamaican to French; runway model to nightclub performer; black to white;
feminine to masculine.
In embodying these seemingly opposite poles at once, Grace Jones
entangles binary systems in style and in flesh. She both exemplifies and
complicates theories of gender, sexuality, performance, race and cybernetics,
discourses that flourished in parallel to her career. Dexterous in the art of
self-reinvention, Jones’ modes of performance can be said to borrow from what
academic Daphne Brooks has called ‘the theatricality of blackness’, whose
techniques are, in the words of Malik Gaines, ‘able to articulate not the
wholeness of black identity, but rather the constructedness of all identity’.
Grace Before Jones presents a multifaceted portrait of the iconic
singer. Travelling through time, it also seeks to give both a historical
background and contemporary perspective to Grace Jones’ image-making, while
expanding on stage design, music and fashion. The exhibition presents itself as
an alternative way to write and tell art history.
https://www.nottinghamcontemporary.org/whats-on/grace-before-jones-camera-disco-studio/
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