4th Ghetto Biennale
Vodou, Lakou & Kreyol; Forms of Resistance.
The piece aimed at developing a critical re-evaluation of ‘facts on History’, shadowed narratives in the context of the Black Atlantic, the Republique D’Haiti, its birth and statu quo.
‘Altar’ works as an integral site-specific multimedia installation composed of a quadraphonic system streaming 24/7 for a period of a month, Erzulie Dantor’s voodoo ceremonial song arranged as an ‘Aria’ in kreyól and recited by a trained soprano Haitian émigré and queer artist based in Dominican Republic.
I am interested in re-contextualizing the so-called ‘National Mythology’ to a present tense, being Erzulie Dantor; the voodoo deity of homosexuals and children, the one invoked the night the slave revolt kicked off ¹ and its later synchronization with the Polish catholic icon Czarna Madonna, the installation piece serves a provocation for a potential Haitian second Chimurenga ². Simultaneously; a direct critique to C. T. Jasper & Joanna Malinowska’s lack of accuracy in their piece 'Halka/Haiti 18º48’05"N 72º23’01"W' at Polish Pavilion for the 56th Venice Biennale.³
This research-based installation was conceptually completed in winter 2014 in Berlin, originally developed for the Wroclaw Media Art Biennale – Test Exposure 2015.
1. Rogozinski, Jan (1999). A brief History of the Caribbean. pp 85.
2. King Chung, Fay (2006). Re-living the Second Chimurenga: Memories from Zimbabwes Liberation Struggle.
3. Wei, Lilly (2015). Poland's Venice pavilion explores Haiti's Polish Connection. artnews.com