Solange Brings A Celebration Of Black Womanhood + Further Analysis Of A Seat At The Table To London Museum

September 1, 2017  |  


I don’t know if Solange is making a concerted effort to push the culture. But that is exactly what she’s doing. As an artist, as an activist and most recently at the Black Girls Rock Award Show, as herself.

The singer is creating a new art piece for the Tate Moden museum in London. It’s said to contain unseen footage from her videos. For the exhibition, Solange is partnering with Carlotta Guerra, the same photographer who captured the image that would eventually be used for her album cover.

Solange’s exhibit will exist as a response to the museum’s showing piece Soul of a Nation: Art in the Age of Black Power.The video footage Solange plans to share will include early concepts for “Don’t Touch My Hair,” “Cranes in the Sky,” and two untitled poems by Knowles. There is also a piece called “we sleep in our clothes, (because we’re warriors of the night.)”

On the Tate Modern website, Solange said:

” There would be no hesitation should I be asked to describe myself today. I am a Black woman. A woman yes, but a Black woman first and last. Black womanhood has been at the root of my entire existence since birth.

During the creation of A Seat at the Table and my deeper exploration into my own identity, I experienced many different states of being, and mind throughout my journey. I mourned. I grieved. I raged. I felt fear and triumph while working through some of the trauma I set out to heal from. “The state I so greatly wanted to experience, but that never arrived was optimism. I couldn’t answer my own question, if I had a responsibility as an artist to also express optimism in the midst of working through so much of my own healing. I decided to do this through a visual language. I wanted to create this language to help me to get closer to the balance I yearned to be closer to and express. I wanted to create a meditation and mediation using movement, repetition, symmetry, color theory, landscape and scenography, as my own individualised protest.”

If you’re unable to catch the exhibit in person, in London, you can experience the interactive version of the piece online.

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