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In Ihrer bisher grössten institutionellen Präsentation ihrer Werke und der ersten Ausstellung in der Schweiz, zeigt Deana Lawson (* 1979) neue Arbeiten, darunter eine Gruppe von grossformatigen fotografischen Arbeiten, Hologramme, 16-mm Filme, ein Video, mehrere Installationen von kleinformatigen Aufnahmen, manche auf Spiegel gedruckt, und mit Kristall bestückten Spiegeln. Mit diesen sorgfältig inszenierten und zugleich sehr intimen Aufnahmen der afrikanischen Diaspora in ihrer Heimat der USA, in Brasilien und andernorts, gelingt es Lawson, einprägende fotografische Porträts vom gegenwärtigen Schwarzen Leben zu schaffen.

Lawsons versammelt ihr Ensemble unter dem Titel Centropy, was in unserem gegenwärtigen Moment auf eigentümliche Weise nachklingt. Wenn Entropie davon spricht, wie sich die Dinge im Chaos auflösen, beschreibt Centropy das Gegenteil, nämlich die Elektrifizierung von Materie, die zu schöpferischer Erneuerung und Ordnung führt. Während diese Ausstellung aufgebaut und öffentlich zugänglich wird, entflammt in den gesamten USA Wut und Entrüstung darüber, dass ein weiteres Schwarzes Leben (nach unzähligen anderen) durch die Hände eben jener Menschen und Systeme verloren ging, die ihm eigentlich hätten dienen und es schützen sollen. Die Ausstellung findet zudem inmitten einer globalen Pandemie statt, die unverhältnismässig stark diejenigen trifft, deren rassistische Klassifizierung, Gesellschaftsklasse oder Sexualität sie bereits benachteiligt und sie erneut einem höheren gesundheitlichen und ökonomischen Risiko aussetzt. Gegenwärtig ist die Botschaft von Centropy umso dringlicher. Gerade in einer Zeit, in der die Verwundbarkeit der Gemeinschaften, die Lawson fotografiert, auf so tragische Weise offenbart wird, mahnen uns ihre würdevollen und strahlenden Darstellungen des Schwarzen Lebens daran, nicht wegzuschauen.

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Die Ausstellung wird grosszügig unterstützt von François Gutzwiller, der Fundación Almine y Bernard Ruiz-Picasso para el Arte und der Gwärtler Stiftung, mit zusätzlicher Unterstützung von der Volkart Stiftung und der Ruth & Arthur Scherbath Stiftung. Spezielle Vermittlungsangebote für diese Ausstellung werden ermöglicht durch die freundliche Unterstützung von Patrik König. Ko-produziert mit der Fundação Bienal de São Paulo als Teil der 34. Bienal de São Paulo – Though It’s Dark, Still I Sing.

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