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15September2017 Wake ReflectSpace BANNER

ReflectSpace

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ReflectSpace

The highly anticipated and reimagined Downtown Central Library is pleased to announce the reopening of its doors with ReflectSpace: a new exhibition space designed to explore and reflect on major human atrocities, genocides and civil rights violations. Immersive in conception, ReflectSpace is a hybrid space that is both experiential and informative, employing art, technology and interactive media to reflect on the past and present of Glendale’s communal fabric and interrogate current-day global human rights issues.

ReflectSpace at the Downtown Central Library is a new exhibition space designed to explore and reflect on major human atrocities, genocides and civil rights violations. Immersive in conception, ReflectSpace is a hybrid space that is both experiential and informative, employing art, technology and interactive media to engage viewers on an emotional and personal level. ReflectSpace strives to reflect the past and present of Glendale’s communal fabric and interrogate current-day global human rights issues.

The approach is intimate. Emphasis is placed on the witness narrative: who saw, wrote, spoke or has been affected by genocide or human rights calamities. The narratives will unfold through multiple technologies--projection, interactive media and immersive sound design--and multiple discipline of thought and arts. ReflectSpace will also present installation art and engage with the archives, books and texts in the library in which it exists.

ReflectSpace is an inclusive exhibition space. First, it will explore the Armenian Genocide, presenting personal as well as reflective narratives from survivors and artwork from descendants. Also, in the coming months, it will present the fate of the Rwandan Tutsis and, later, the Holocaust, then subsequent genocides. With a focus on Glendale as well as an international perspective, ReflectSpace will also delve into contemporary issues like immigration, violence in society, Korean comfort women, interned Japanese, as well as the disappearance of Native Californians and the roots and routes of slavery in the US. And this is just the beginning.

ReflectSpace will be an intimate experiential space for reflection and exploration. At times it will be immersive, at other times disorienting and yet at other times overwhelming. But it will always engage.


Wake: The Afterlife of Slavery

September 15 - November 5, 2017

ReflectSpace at Downtown Central presents Wake, an exhibition tracing a jagged narrative of slavery in the US from the slave trade to the present. Revolving around the ideas of Black scholar and author Christina Sharpe, Wake engages various meanings of that word to address the aftermath and the evolution of the institution of slavery into its virulent forms today. The exhibition runs from September 15 to November 5, 2017. An Opening Reception was held on Friday, September 15 from 6 to 8 pm.

The notion of wake has myriad layers of meaning: it is the distortions in the aftermath of a ship’s passing and the ruptures that persist long after its passing; an attendance and a witnessing of the dead, a kind of final act of caring; the state of rising out of sleep to move and act--being present today and now. Wake cuts both ways: into death as well as life.

What is the “wake” of the estimated 350,000 slave ships that crossed the Atlantic? “I talk about ‘wake work’”, says Christina Sharpe. “The wake is keeping track of the ship, keeping watch for the dead. It was a way for me to think about the persistence of Black death and the persistence of Black life, the ways in which Black people nonetheless make spaces of joy. ‘Wake work’ is the work that we Black people do in the face of our ongoing death, and the ways we insist life into the present.”

Anchored by the works of Pulitzer-prize winning photographer Clarence Williams and photographer and installation artist Nicola Goode, Wake reflects on Sharpe’s ideas and traces a non-linear narrative of slavery from various points of view.

Williams was in New Orleans for a wedding when hurricane Katrina struck. Rescued from atop a house, Williams stayed to be a witness and document the destruction of Black communities there: a Black death due to long-term government neglect and horrific abandonment of Black citizenry in a time of dire need. Williams presents his work as large-scale, fiber-base photographic prints, made by master printer Andrew Hall.

Nicola Goode, employing archival images, documents and photographs, re-configures and presents her Black family history over three generations in the Los Angeles area while addressing issues of exclusion and marginalization. Goode’s work, which is part image, part installation, part ephemera, is about life which inspired the great migration West and how Blacks in the aftermath of slavery’s legacy have navigated and negotiated limits placed on their “freedom.”  Her work touches upon what Sharpe calls “Black life”: an “insistence” of life into the present and recognizes that survival in the aftermath of slavery’s legacy depends on the preservation and celebration of life.

Alongside artwork, Wake presents digitally reproduced archival material as artifact: series of documents and images that stitch together a narrative of the “afterlife” of slavery in multiple contexts to complete and complement Williams’ and Goode’s works. Casting a wide net across space and time, Wake re-appropriates various actual and online archives to generate this narrative. It mines the archival collections at Glendale’s Downtown Central Library and the online collections of the Library of Congress, the National Archives and various universities. Included in the exhibit are reproductions of documents, photographs and audio material from “Born in Slavery” collection, runaway slave ads, slave ship manifests and newspaper clippings and other documents from Glendale’s past.

From A Place for all People: Introducing the National Museum of African American History and Culture Collection and courtesy of the Smithsonian Traveling Exhibitions Services program, the poster exhibit in Downtown Central’s Passageway enhances and complements Wake in ReflectSpace as it further explores the African American story characterized by pain and glory, power and civility, enslavement and freedom.

Wake is a jagged narrative of the “afterlife” of slavery, its continuing destruction of Black communities as well as the unstopable force of life that inspires the same communities. Wake is at once a reflection, an act of mourning and a call to life. Wake is co-curated by Ara and Anahid Oshagan.


Do The Right Thing: (dis)comfort women

  • Exhibition: July 20 - September 3, 2017, ReflectSpace
  • Opening Reception: Friday, July 21, 6:00 - 9:00 p.m., ReflectSpace
  • Commemoration of Comfort Woman Day: Friday, July 28, 6:00 - 9:00 p.m., Auditorium   Read More>
  • The Apology film screening: Friday, August 11, 7:00 - 10:00 p.m., Auditorium   Read More>
  • The Last Tear film screening: Thursday, August 24, 7:00 - 10:00 p.m., Auditorium   Read More>

ReflectSpace - Downtown Central Library
222 East Harvard Street, Glendale CA 91205

ReflectSpace at Downtown Central presents Do the Right Thing: (dis)comfort women, an exhibition reflecting on the silence and dialogue by and about the women who were forced to become sex slaves by the Japanese Imperial Army before and during World War II. The exhibition presents the work of twelve international documentarians and artists and runs from July 20 to September 3, 2017. Co-curated by Monica Hye Yeon Jun, Ara and Anahid Oshagan. An opening reception will be held on Friday July 21, from 6-9 pm, Downtown Central Library, 222 East Harvard Street, Glendale CA 91205.

The term “comfort women” is a Japanese euphemism coined by the military to soften the scope and viciousness of their system of slavery. The (dis)comfort women exhibit turns this term on its head and develops alternative narratives of the experience by survivors as well as artists. The exhibit includes drawings, watercolor, paintings, sculpture and audio-visual material drawn from a wide range of North American and international artists, professional as well as amateur. (dis)comfort women will show the work of Remedios Felias, a former sex slave who late in life drew a graphic picture diary of her harrowing experience, as well as giant public art banners by NY-based artist Chang-Jin Lee.

The artists’ work invites reflection and dialogue but also creates tension: between the inability to speak about personal trauma and the deep human urge to tell. Artists explore this silence and simultaneously break it. (dis)comfort women is held taut in this tension and is a vociferous presence urging the acknowledgment of the horrors, lifelong indignity and shame suffered by the comfort women.
Artists in (dis)comfort women: Steve Cavallo, Yoon Jung Choi, Shon Jeung Eun, Remedios Felias, Arian Kang, Chang-Jin Lee, Melly Lym, Hong Sun Myeong, Kim Siha, Gim Deok Yeoung, Shin Chang Yong and Seo Soo-Young.

Before and during World War II, over 200,000 women from South Korea, Taiwan, China, Indonesia, Malaysia, Japan, the Philippines, Thailand, Vietnam and East Timor were coerced or forcibly transported to so-called “comfort stations” across Japanese occupied territories and repeatedly raped, tortured and brutalized for months and years. Most women were under the age of 20, some as young as 12. Many women were murdered or committed suicide during their enslavement.

And the horrors of their experience did not end with the end of the war. Many women were severely traumatized and never married or were unable to have children as a result of the torture they suffered. Many did not return home and those who did were branded as “Japanese leftovers” and were often derided and ostracized. Humiliated and ashamed, comfort women survivors remained silent for nearly six decades: in isolation, shame, mental and physical ill-health, and often in extreme poverty. Breaking the silence about their experiences was a courageous task. The first public pronouncement by a survivor came in 1991, nearly 50 years later.

ReflectSpace is a new exhibition space inside Downtown Central Library designed to explore and reflect on major human atrocities, genocides and civil rights violations. Immersive in conception, ReflectSpace is a hybrid space that is both experiential and informative, employing art, technology and interactive media to reflect on the past and present of Glendale’s communal fabric and interrogate current-day global human rights issues.


Landscape of Memory

May - June 2017

The inaugural exhibit, called Landscape of Memory: Witnesses and Remnants of Genocide, unfolds in two distinct but interconnected parts and reflects on the Armenian Genocide through the cross-disciplinary work of witnesses, survivors, and artists, across four generations.

In the newly constructed ReflectSpace, witness (in) humanity examines the relationship of official history to survivor testimony and its generational aftermath. Leslie A. Davis, the US Consul in the Ottoman Empire in 1915, risked his life in saving Armenians and taking photographs of the Genocide. Davis’ critical work as a photographer and documentarian are contextualized and presented as part of witness (in) humanity. He is connected to contemporary photographers’ portrait and oral history of Hayastan Maghakhian-Terzian, one of the young girls Consul Davis saved.

Coming nearly a century after Davis, New York-based artist Aram Jibilian’s “Gorky and the Glass House” explores Arshile Gorky, the renowned Armenian-American painter, as an artist-survivor through a series of conceptual photographs made at Gorky’s final residence. Jibilian channels the artist’s ghost to address the ambiguous space the survivor occupies: between life/death and past/present.

Just outside ReflectSpace, within a few yards of the library’s south entrance at Glendale Central Park, will be the second part of Landscape of Memory: Witnesses and Remnants of Genocide, the highly popular iwitness public art installation.

The iwitness installation is a large-scale artistic disruption of public space and consists of an interconnected network of towering asymmetrical photographic sculptures wrapped with massive portraits of eyewitness survivors of the Genocide. The sculptures have no right angles and their irregular angular shapes speak to an unbalanced world, continually at risk of war, ethnic cleansing and genocide.  They range in height from eight to twelve feet.

Conceived and constructed by artists Ara Oshagan and Levon Parian and architect Vahagn Thomasian, iwitness will be the first ever large-scale public art installation in Glendale. Design concept is by Narineh Mirzaeian.

“This remarkable installation, coupled with the ReflectSpace exhibition, honors the 1.5 million victims of the Armenian Genocide and tells the personal stories of survivors--first-hand eyewitnesses to one of the worst atrocities of the 20th century,” said Cindy Cleary, Director of Glendale’s Arts and Culture.

“iwitness is a temporary monument to the men and women who rebuilt their disrupted lives and communities in the aftermath of genocide,” said artist Levon Parian. “The proximity and clustering of the sculptures alludes to, and reflects the new communities they created after being dispersed across the globe.”

Landscape of Memory: Witnesses and Remnants of Genocide is an immersion in an internal conversation taking shape at the very onset of the Genocide and stretching over four generations. The diplomat/documentarian, eyewitness survivors and contemporary artists are all intricately linked in a network of imagery, image-making and testimony. Landscape of Memory is curated by Ara and Anahid Oshagan.

  • iwitness public art installation at Glendale Central Park will run from April 27 through June 14.

iwitness (in)humanity @ ReflectSpace | iwitness @ Central Park
Curated by Ara and Anahid Oshagan