PRINT December 2018

Eungie Joo

Kara Walker with Jason Moran, The Katastwóf Karavan, 2018, mixed media. Installation view, Algiers Point, New Orleans. Photo: Ari Marcopoulos.

1 KARA WALKER WITH JASON MORAN, THE KATASTWÓF KARAVAN (PROSPECT.4, “THE LOTUS IN SPITE OF THE SWAMP,” NEW ORLEANS) At Algiers Point in New Orleans, you may find a weirdly factual plaque in the ground that reads, “enslaved africans. In the 1720s, at a spot of land now eroded by the river, stood the barracks where enslaved Africans from the Senegal-Gambia region were held before being ferried across the river to the Slave Auctions. Early Algiers Point was also the home of the slaughterhouse and the powder magazine for New Orleans.” That paltry memorial cannot express the brutal suffering, defiant resilience, and pain still lingering in the air. For the closing of Prospect.4, Moran caressed spectral wailings from Walker’s steam calliope that shook the skies to tears and left behind a double rainbow over the Mississippi.

Haegue Yang, Medicine Man—Indiscreet Other World, 2010, clothing rack, casters, lightbulbs, cable, zip ties, terminal strips, nylon cord, knitting yarn, wigs, papier-mâché, watercolor, varnish, metal rings, metal chains, Mylar tinsel, aluminum reflector, fringe, 70 7⁄8 × 47 1⁄4 × 30 3⁄8".


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