January 18, 2013
blackcontemporaryart:

Alfredo Jaar
Rwanda, 1994.

In November of 1994 Jaar was invited to participate in a public art project in Maimo, Sweden. e was given the use of fifty light-boxes all around the city in which to display any image he wished. But he did not wish to display an image, yet. The truth is, he could not. Instead, he filled the light-boxes with Rwanda; that is, with the name “Rwanda,” repeated over and over, filling up the frame.
These posters, scattered around the streets and squares of Maimo, reduced the rhetoric of advertising to a cry of grief. But they also served notice on a complacent public: “You—in your tidy parks, on your bicycles, walking your dogs—look at this name, listen to this name, at least hear it, now: Rwanda, Rwanda, Rwanda…” The posters were a raw gesture, produced out of frustration and anger. [description by David Levi Strauss]

blackcontemporaryart:

Alfredo Jaar

Rwanda, 1994.

In November of 1994 Jaar was invited to participate in a public art project in Maimo, Sweden. e was given the use of fifty light-boxes all around the city in which to display any image he wished. But he did not wish to display an image, yet. The truth is, he could not. Instead, he filled the light-boxes with Rwanda; that is, with the name “Rwanda,” repeated over and over, filling up the frame.

These posters, scattered around the streets and squares of Maimo, reduced the rhetoric of advertising to a cry of grief. But they also served notice on a complacent public: “You—in your tidy parks, on your bicycles, walking your dogs—look at this name, listen to this name, at least hear it, now: Rwanda, Rwanda, Rwanda…” The posters were a raw gesture, produced out of frustration and anger. [description by David Levi Strauss]

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