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theme: imprisonment.n.01



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Pivot III
© » KADIST

Sable Elyse Smith

Sculpture (Sculpture)

Sable Elyse Smith’s Pivot III resembles playground equipment uselessly reconfigured. The stainless-steel asterisks, assembled from prison visitation-room seating, are painted 2K black and blue: colors evoking the US criminal justice system, its racist enforcement, and the heavy-duty finish of finance capitalism with which the culture industry is enmeshed. The work consists of six long rods, affixed via plate to each of the faces of a central cube, from which they radiate in perfect symmetry.

Hog feed 102
© » KADIST

Jared Owens

Painting (Painting)

Hog feed 102 is an exemplary work by Jared Owens that combines two of the artist’s primary signatures: the use of soil smuggled out of the grounds at F. C. I. Fairton, a prison in which Owens was incarcerated, and the stowage diagram of the Brookes slave ship. This diagram from 1788 is a logistical blueprint of how to pack Black bodies efficiently, in tiered serial form, into the hold of a ship. Merging these vocabularies, Owens has laced a burlap sack for pig feed into the work to advance a multi-layered commentary on American prisons as ostensible ‘human farms’ that dehumanize inmates by turning them into a commodity for the prison industrial complex.

3x3x6 - 10 cases 10 data
© » KADIST

Shu Lea Cheang

Film & Video (Film & Video)

Reflecting upon the transformation of surveillance techniques since the panopticon to include contemporary 3-D facial recognition, AI, and the Internet, Shu Lea Cheang’s 3x3x6 – 10 cases 10 data restages the rooms of the Palazzo delle Prigioni—a Venetian prison from the sixteenth century in operation until 1922—as a high-tech surveillance space. Taking as its starting point the story of libertine writer Giacomo Casanova, imprisoned in the Prigioni in 1755, Cheang has conducted in-depth studies on ten historical and contemporary cases of subjects incarcerated because of gender or sexual dissent, including the Marquis de Sade and Michel Foucault, as well as contemporary cases from Taiwan and South Africa. Their fictionalized portraits become part of the exhibition’s system; the title of which refers to today’s standardized architecture of industrial imprisonment: a 3 x 3 square-metre cell constantly monitored by 6 cameras.

Pasvang, Pollsmoor Maximum Security Prison
© » KADIST

Mikhael Subotzky

Photography (Photography)

“Pasvang, Pollsmoor Maximum Security Prison” is the result of three months Subotzky spent inside the walls of Pollsmoor Prison, an overcrowded correctional facility largely controlled by gangs. Through talking to the prisoners and the warders, teaching classes in photography to the inmates and documenting his experiences, Subotzky captured a unique perspective of the prisoners and the prison itself. Subotzky was working digitally, and a key feature of the Pollsmoor work was panoramic images in which he would stitch together a number of shots to give a 360-degree view of the jammed prison wards and spaces.

Untitled
© » KADIST

James "Yaya" Hough

Drawing & Print (Drawing & Print)

This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate. This drawing uses a pink form on which an inmate can list telephone contacts for approval. The drawing depicts two uniformed figures, with backwards feet, berating a figure on a toilet.

Prisoner's Cinema
© » KADIST

Beatriz Santiago Muñoz

Film & Video (Film & Video)

Another curious element is that it seemed that I was seeing images from the dreams I had that afternoon. But these images were appearing from end to beginning, like a film reel running backwards. I also couldn’t properly situate them.

Untitled
© » KADIST

James "Yaya" Hough

Drawing & Print (Drawing & Print)

This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate. The form used for this drawing details a weekly menu for the prisoners. Hough’s drawing depicts three grimacing figures, riding atop the back of a larger, female figure on all fours.

Linear Painting #5 – Saint Laurent du Maroni prison (Guiana)
© » KADIST

Kapwani Kiwanga

Painting (Painting)

Kapwani Kiwanga’s Linear Painting series (2017) reflect the artist’s research into disciplinary architecture, including schools, prisons, hospitals, and mental health facilities. When they were presented together, the paintings were arranged according to a black horizontal line placed at 160 centimeters from the floor, which traced the entire perimeter of the gallery. According to hygiene standards in Europe, this would mark the height below which walls should be washed in order to prevent the spread of illnesses.

Untitled
© » KADIST

James "Yaya" Hough

Drawing & Print (Drawing & Print)

This untitled ink and pencil drawing by James “Yaya” Hough is made on what the artist calls “institutional paper”, or the state-issued forms that monitor the daily activities of prisoners, of which, each detainee is generally required to fill out in triplicate. The form used for this drawing is a request for medical attention. This work illustrates an assembly-line of severed bodies being pumped full of feet and other body parts.

Raybrook
© » KADIST

Jesse Krimes

Sculpture (Sculpture)

Raybrook by Jesse Krimes takes its name from The Federal Correctional Institution, Ray Brook (FCI Ray Brook), a medium-security United States federal prison for male inmates located in Essex County, NY. In addition to its indexical title, this quilt-work tapestry is made from personal clothing and other like articles the artist was given by currently, and formerly incarcerated persons. It is part of a larger series of works called the Elegy Quilts , which illustrate domestic scenes inspired by conversations the artist has had with the individuals these fabrics were acquired from.

James "Yaya" Hough

Working in ballpoint pen, pencil, and watercolor, often on the backs of bureaucratic prison forms, James “Yaya” Hough’s work conveys the burdens of incarcerated life, revealing not only the brutal reach of the carceral system, but laying bare its affects...

Sable Elyse Smith

Sable Elyse Smith is an interdisciplinary artist, writer, and educator based in New York and Richmond, Virginia...

Mikhael Subotzky

Mikhael Subotzky’s (b...

Shu Lea Cheang

Shu Lea Cheang’s practice combines artistic concerns with social issues, and is highly acclaimed as a leading figure in post-porn feminist art, becoming a crucial player that resonates with present-day subjects of queerness and trans discourse...

Kapwani Kiwanga

Kapwani Kiwanga is a contemporary researcher, installation, video, photography, sound and performance artist currently based in Paris...

Jared Owens

During more than 18 years of collective incarceration, Jared Owens became a self-taught artist, working in painting, sculpture, and installation, using materials and references culled from penal matter...

Jesse Krimes

Jesse Krimes is an artist, curator, educator, former inmate, and activist whose work tackles and fights the US prison-industrial complex...