Watching Andrews’ work, I manage to construct narratives out of “dark noise.” “Dark noise” as Andrews calls it, is an alternate truth-building system. I remember the man sitting on a rock next to the ocean.¹ I remember how we move, so musically, between images. The beginning of Lawrence Andrews’ “and they came riding into town on BLACK & SILVER HORSES” is as I remember it: we’re travelling into the woods. THE SOUND OF RIOTING: TWELVE NOTES ON LAWRENCE ANDREWS In twelve sections, Duplan discusses Andrews' approach to constructing narrative out of "dark noise," the relationship between legality and legibility, and the complexities of communication at large. By particularly honing in on the depiction of Moses Wright, Till's uncle, Andrews examines the limitations of predication, drawing on Giorgio Agamben's notion of the "whatever being."Īndrews' works are presented alongside a new text by poet, artist, and curator Anaïs Duplan titled The Sound of Rioting: Twelve Notes on Lawrence Andrews.
#Dark noise art trial
The second work, mythicPotentialities (2021), is an exploration of the murder of Emmett Till and the trial that followed, examining the way these events have been mediated through documentary texts like Eyes on the Prize. The piece mixes interviews with the participants, appropriated TV images, text by Aimé Cesaire, and more. "and they came riding into town on BLACK & SILVER HORSES" (1992) is a video-essay on racism, crime, the law, and media, centered around the eye-witness accounts that sent an innocent man to prison. Through June 29th, EAI is pleased to feature two works by artist Lawrence Andrews.
0 kommentar(er)
