Sundown (Number Twenty)

2019 - Photography (Photography)

152.4 x 114.3 cm

Xaviera Simmons

location: Brooklyn, New York
year born: 1974
gender: female
nationality: American
home town: New York, New York

Xaviera Simmons often employs her own body and collected materials in the service of her photographs and performances. Not to be mistaken as mere portraiture, however, Simmons’ works are explorations of the Black body in relation to landscape and other dimensions of non-linear space and time. Concealing and flattening her subjects with costumes and collage-like, abstract pictorial devices, the artist arranges archival photographs, printed textiles, and anthropological artifacts in configurations that highlight the power of visual culture to shape contemporary understandings of the self. Dressed in wax-printed broadcloth, the subject of Sundown (Number Twenty) holds a photograph from the Jim Crow era in her left hand and an African mask in her right. The busy backdrop of tropical flora reinforces problematic associations of fantasy and exoticism suggested by the masked figure. Simultaneously concealing and replacing her own image, Simmons allows her individual identity to dissolve into the cultural constructs and histories that each artefact and image holds.


Artist Xaviera Simmons’s diverse body of work is committed to multiplicity. Eschewing linear notions of history, her approach to investigating themes such as the shifting notions surrounding landscape and the conditions of African American female experience are cyclical in nature. Her studio practice demonstrates a fidelity to no single artistic modality or creative process; rather, Simmons’ interdisciplinary pursuits are in constant, active flux. Encompassing installation, photography, performance, and sound and video works, her evolving approach to artmaking is emblematic of the plurality of cultural experience and the myriad ways in which identity is constructed in contemporary culture.


Colors:



Karachi Series 1 (Chandra Acarya, 7:50pm, 30 August 2008, Ramadan, Karachi)
© » KADIST

Bani Abidi

2008

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

Death at a 30 Degree Angle
© » KADIST

Bani Abidi

2012

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

New Town Ghost
© » KADIST

Minouk Lim

2005

New Town Ghost (2005) is one of Lim’s trio of large-scale video installations...

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Karachi Series 1 (Chandra Acarya, 7:50pm, 30 August 2008, Ramadan, Karachi)
© » KADIST

Bani Abidi

2008

The threshold in contemporary Pakistan between the security of private life and the increasingly violent and unpredictable public sphere is represented in Abidi’s 2009 series Karachi ...

Death at a 30 Degree Angle
© » KADIST

Bani Abidi

2012

The perceived effortlessness of power, projecting above experiences of labored subordination is examined in Death at a 30 Degree Angle by Bani Abidi, which funnels this projection of image through the studio of Ram Sutar, renowned in India for his monumental statues of political figures, generally from the post-independence generation...

Nachbau
© » KADIST

Simon Starling

2007

Invited in 2007 to the Museum Folkwang in Essen (Germany), Simon Starling questioned its history: known for its collections and particularly for its early engagement in favor of modern art (including the acquisition and exhibition of works by Cézanne, Gauguin, Van Gogh, Matisse), then destroyed during the Second World War, the museum was pillaged for its masterpieces of ‘degenerate art’ by the nazis...

I can’t believe we are still protesting
© » KADIST

Wong Wai Yin

2021

Drawn from the widely circulated images of protests around the world in support of women rights and racial equality, the phrase I can’t believe we are still protesting is both the title of Wong Wai Yin’s photographic series and a reference to similar messages seen on protest signages...

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Mansudae Master Class
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Che Onejoon

2013

For the last few years, Che Onejoon has been focusing on the relationships between African countries and North Korea...

Daniel Clowes interviewed by Rene de Guzman
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Daniel Clowes is a graphic novelist, screenwriter, and Bay Area treasure...

Meet Hong Kong’s ‘Flower Granny’ artist, 92 – likened to Yayoi Kusama – for whom the world is her canvas
© » SOUTH CHINA MORNING POST

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Life
© » KADIST

Yu Honglei

2013

Yu Honglei’s video and mixed media works riff on familiar motifs from the Western art historical canon and reimagine them through a playful but subversive culture jamming of their original meaning...

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20
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Chris Wiley

2012

Architectural details become abstracted renderings in Chris Wiley’s inkjet prints 11 and 20 (both 2012)...

Nothing New
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Oded Hirsch

2012

Oded Hirsch’s video work Nothing New (2012) utilizes seemingly absurdist tropes to raise more trenchant questions about communal action and collective identity in modern day Israel...

Excerpt (Sealed) (Brown)
© » KADIST

Stephen G. Rhodes

2010

For his series of digital collages Excerpt (Sealed)… Rhodes appropriated multiple images from mass media and then sprayed an X on top of their glass and frame...

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One Must
© » KADIST

John Baldessari

1997

In One Must , an image of a pair of scissors, accompanied by the words of work’s title, poses an ominous question about the relationship between the image and the text...

Pranayama D
© » KADIST

Mika Tajima

2017

Mika Tajima’s Pranayama sculptures are built from carved wood and chromed Jacuzzi jets and are presented as artefacts...

Person with Pillow: Desire, Lust, Fate
© » KADIST

John Baldessari

1991

The voids in Baldessari’s painted photographs are simultaneously positive and negative spaces, both additive and subtractive...

Floor, Legs
© » KADIST

Elad Lassry

2013

In establishing a deliberate distance between viewer and subject, Lassry raises questions about representation itself and how all portraits are, in effect, fully constructed objects that only gain meaning once we ascribe them with our own personal associations and emotions...

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Interview with Xaviera Simmons
© » KADIST

New York-based artist Xaviera Simmons and AFRO Charities executive director Savannah Wood introduce Nectar , on view at KADIST Paris from May 6th to July 24th 2022...

Xaviera Simmons, Nectar - Konsthall C
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After a presentation at KADIST Paris in Spring 2022, Xaviera Simmons’ solo exhibition “Nectar” travels to Konsthall C, Stockholm, Sweden...

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Xaviera Simmons, Nectar
© » KADIST

KADIST presents Nectar , a solo exhibition by New York-based artist Xaviera Simmons...