Elements of Vogue: A Case Study in Radical Performance at CA2M Centro de Arte dos de Mayo

Artists: Charles Atlas, Dawoud Bey, Joan Jett Blakk, David Bronstein, Willie Cole, Emory Douglas, LaToya Ruby Frazier, Ellen Gallagher, Bam Bam Garçon, Gerard H. Gaskin, Lyle Ashton Harris, Benji Hart, Juliana Huxtable, Arthur Jafa, Marsha P. Johnson, D’relle Khan, Crystal LaBeija, Zoe Leonard, Glenn Ligon, Kalup Linzy, L.O.V.E. Lesbians Organized for Video Experience, Dorothy Low, Paul Maheke, MikeQ, Rashaad Newsome, Lorraine O’Grady, Paper Tiger Television, Adrian Piper, Carl Pope Jr., Pope.L, Qween Beat, Jay Jay Revlon, Marlon T. Riggs, Sylvia Rivera, Martha Rosler, Stephen Shames, Frank Simon, Lorna Simpson, Bruce W. Talamon, Terre Thaemlitz, Wu Tsang, James Van Der Zee, Jack Walworth, Andy Warhol, Cornel West, Ernest C. Withers, and a multitude of past and future voguing bodies

Exhibition title:  Elements of Vogue: A Case Study in Radical Performance

Curated by: Sabel Gavaldon and Manuel Segade

Venue: CA2M Centro de Arte dos de Mayo, Madrid, Spain

Date: November 16, 2017 – May 6, 2018

Photography: all images copyright and courtesy of the artists, CA2M Centro de Arte dos de Mayo and the respective copyright holders

Note: Exhibition guide can be found here

SPECIAL FEATURE: De Appel Curatorial Programme

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The final project of the Curatorial Programme 2014 – 2015 at de Appel arts centre opened with two exhibitions: Spell to Spelling ** Spelling to Spell and Your Time Is Not My Time.

Spell to Spelling ** Spelling to Spell emerges in the spaces between the linguistic and associative relations of the notions of the spell and the spelling. The exhibition investigates various facets and rituals dealing with voluntary, involuntary and removed memory of the author, the visitors and the artworks themselves. Many ways of unfolding references, sources, stories and histories behind the objects are explored within the exhibition.

Your Time Is Not My Time lays the question of blurred boundaries between viewer, author and user within the current habitual fear of missing out and hyper-circulation of images. The exhibition uncovers a thorough pace and tacit admission within the changing lexicon of the public sphere, data-driven economies and forms of usership.

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Ola Lanko