All Time is Local
Black Quantum Futurism, 2017 Visual Artist Fellow
“Time [...] was historically a local practice rooted in daily rituals and bound up in the particularities of unique physical spaces.” - Adam Barrows
Much like politics and the weather, all time is local. Considering time’s intimate relationship to space and locality, this text, object, and video installation continues the work of BQF in recovering and amplifying historical memory of autonomous Black communal space-times in North Philly. Including select pieces from their Dismantling the Master’s Clock, Temporal Disruptors, and Black Space Agency series, the works meditate on the complex, contested temporal and spatial legacies of historical, liberatory Black futurist projects based primarily in North Philly, such as Progress Aerospace Enterprises, Zion Gardens, and Berean Institute.
Black Quantum Futurism is an interdisciplinary creative practice between Camae Ayewa and Rasheedah Phillips that weaves quantum physics, afrofuturism, and Afrodiasporic concepts of time, ritual, text, and sound to present innovative works and tools offering practical ways to escape negative temporal loops, oppression vortexes, and the digital matrix. BQF has created a number of community-based projects, performances, experimental music projects, installations, workshops, books, short films, zines, including the award-winning Community Futures Lab. BQF Collective is a 2018 Velocity Fund Grantee, 2018 Solitude x ZKM Web Resident, 2017 Center for Emerging Visual Artists Fellow, 2017 Pew Fellow, 2016 A Blade of Grass Fellow, and a 2015 artist-in-residence at West Philadelphia Neighborhood Time Exchange. The Collective has presented, exhibited, and performed at Red Bull Arts NY, Serpentine Gallery, Philadelphia Art Museum, Open Engagement, MOMA PS1, Bergen Kunsthall, Le Gaite Lyrique, Squeaky Wheel, and more.
Featuring work by Amy Lee Ketchum and Michelle Marcuse
Amy Lee Ketchum creates poetic narratives and abstract worlds in her animations which draw from personal and collective memory, metaphysical narratives, and dance. Currently she is making an experimental stop-animation with cardboard objects, and teaches at the Tyler School of Art and the University of Pennsylvania in Philadelphia.
Michelle Marcuse's work is rooted in memories from her childhood during the Apartheid era and has direct relevance to contemporary social issues. Through the use of formal and visceral qualities of decay, the artist address anxieties from both past and present. Marcuse lives and works in Philadelphia, PA where she is Co-Director of HOUSEGallery exhibition space.