Arthur Jafa, Love Is The Message, The Message Is Death (still), 2016. Courtesy: the artist and Gavin Brown’s enterprise, New York / Rome
One of the first things taught in art class is the concept of “negative space”: that which is the ever-present reality in which all things exist. It is the air we breathe but cannot see, the atmosphere that fills the void and holds the most complex and compelling forms. It is what you see when you actually look, when you focus on the very idea that absence is a presence all its own.
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“How do we imagine things that are lost? What kind of legacy can we imagine despite that loss and despite the absence of things that never were?” American filmmaker, cinematographer, artist Arthur Jafa asks in his new exhibition, A Series of Utterly Improbably, Yet Extraordinary Renditions, currently on view at Serpentine Sackler Gallery, London, through September 10, 2017.
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Featuring the work of Ming Smith, Frida Orupabo, and Missylanus, Jafa has transformed the gallery into an immersive, hallucinatory experience that is driven by the desire to visualize that which has been erased: the history of Black America from the Middle Passage though the present day. As his ancestors have done for hundreds of years, Jafa draws upon what remains to elucidate the hazy and horrific history of life in the United States.
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Jafa, who has most recently worked with Jay-Z to direct the music video for “4:44,” with Solange for “Cranes in the Sky” and “Don’t Touch My Hair,” and with Beyoncé on parts of “Formation,” is the first-name in videography. But his work crafting images of Black life has been going on for decades, whether collaborating with Spike Lee on Crooklyn or with his ex-wife Julie Dash on Daughters of the Dust, which is said to have inspired the look of Lemonade.
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Arthur Jafa, Monster, 1988. Courtesy: the artist and Gavin Brown’s enterprise, New York / Rome