The exhibition (1 November 2019–1 March 2020) examines the relationship between music and society, and is at the same time a reflection on the media of film and photography. The works reconstruct and imagine the 1960s and 70s—an era distinguished by (de-)colonization and migration, but one equally permeated by jazz, underground disco, and Afrobeat.
On view are the early two-channel video installation Hors-champs (1992), the six-hour video Luanda-Kinshasa (2013), as well as large-format photographs from the series Disco Angola (2012). The artist shot Luanda-Kinshasa in a space modelled on the legendary New York recording studio The Church, while Hors-champs was filmed in a Parisian television studio. The photographs from the series Disco Angola stage “a costume drama in fragments” (Stan Douglas), set in post-industrial New York and post-colonial Angola, but shot in California.
Read a review of the exhibition in The Quietus
Image: Stan Douglas, A Luta Continua, 1974, 2012,
Digital C-print mounted on aluminum, 120.7 x 181 cm.
Courtesy the artist, Victoria Miro and David Zwirner