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Installation video of ’The Evidence of Things Unseen’, a solo exhibition of Titus Kaphar at L’Église du Gesú, Brussels, 2020 (c) Dave Bruel. Courtesy MARUANI MERCIER
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Titus Kaphar’s ability to prompt reflection on long-standing systemic oppressions, particularly through his dismantling and reconfiguration of classical structures in Western art, has never felt more poignant than in these times. His signature approach of deconstructing established iconography and imagery, and then rebuilding them with the inclusion of Black possibilities and representation has struck a resonant chord, especially in the way it encourages viewers to reassess the cultural canon and question how it came to be so. In Brussels, set within the church’s crumbling, graffitied walls and neo-Gothic architecture, the array of works on view range from precise oil paintings to three-dimensional physical interventions that reinterpret historical artworks. [
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