In a special collaboration, Arcade and Ellen de Bruijne Projects are pleased to present a solo exhibition of the work of Jeremiah Day. The exhibition coincides with Citoyenne Reprise, an exhibition of Day’s collaborative works at Netwerk Aalst. The opening serves as the launch of If It’s For The People, It Needs To Be Beautiful, She Said, the first major publication on Jeremiah Day’s work, designed and co-edited with Will Holder and the culmination of Day’s multi-year project of the same title.
Day’s work – through photography, performance, text and installation – represents a consistent investigation into art’s capacity for the civic, one materialised through subjective traces and a personal narrative style that grounds political thinking in tender experience. From 2014-2019, Day focused almost exclusively on live performance, producing a series of slide-show performances, often with musician Bart de Kroon, combining improvised movement and text with documentary investigations into military bases, anti-war organising efforts, historic and contemporary town-meeting forms. Day’s recent work focuses on structures of group improvisation in which political themes are explored through forms of production which themselves propose models of working and struggling together.
On view in Brussels will be two larger projects that resonate with the events of the last year: LA Homicide from 2010 and The Frank Church – River Of No Return Wilderness, 2012-14. During the exhibition, the Pete & Repeat space will contain selections of Day’s publications produced with longtime collaborator’s Fred Dewey and Simone Forti amongst others, as well as books, records and objects from the broader “company” that Day constitutes through and around his work.
LA Homicide is a work in two parts – photographs with hand-written text and an improvisational speaking/movement performance – two juxtaposed and interwoven methods of description, Day’s own “personal noir.” Typically the vast majority of crimes go unreported by major media, and in Los Angeles only 5-10% of murders are described in print or television. As an experiment, in 2007 the Los Angeles Times began a web-log that would attempt to at least list each murder in the city. In his work Day takes up the sprawling anecdotes of the Homicide Report as a found novel, a text that serves as a point of departure, map, and epic poem of the city.
The Frank Church – River of No Return Wilderness draws together years of research and studio performance into a contemporary ode to the example of US Senator Frank Church. A widely forgotten figure, Church resurfaced to public attention in the wake of the revelations of Edward Snowden. In the 1970’s Church led a series of investigations into the political practices of the United States, including the harassment of Martin Luther King Jr, assassination plots of foreign political leaders, and the development of mass surveillance.
The title of this work is taken from the name of a wilderness reserve in Idaho, named in honour of United States Senator Frank Church, who had ironically used those exact words to warn of crossing over a “bridge of no return,” and this word play becomes the point of departure and hinge for Day’s evocation of Church, his investigation and his subsequent failed Presidential run. The Frank Church – River of No Return Wilderness was originally produced in collaboration with the Stedelijk Museum in Amsterdam as part of their 2012 reopening exhibition and was subsequently presented at the Centre George Pompidou in Paris.
The title of the exhibition is drawn from Day’s 2005 collaborative performance with the band We vs. Death, documentation of which is available to be screened upon request.
For further information please contact:
Christian Mooney | email@example.com