Prospect Visits Counterpublic
Prospect visits counterpublic
Last weekend, the Prospect team visited St. Louis to join the closing ceremony for the second edition of Counterpublic.
SLOWER-THAN-LIGHT SHRINE: IN REMEMBRANCE OF THE UNDERGROUND RAILROAD by Black Quantum Futurism at La Rose Room Cocktail Lounge
Counterpublic is a civic exhibition that integrates contemporary art into the fabric of St. Louis, transforming the city every three years with a vision of generational change. The second edition of Counterpublic brought together esteemed curators Allison Glenn, Diya Vij, New Red Order, and Risa Puelo, who collaborated with 30 artists to present community-focused projects and installations. These works centered around the themes of public memory, reparative futures, and collective envisioning of liberated lifeways.
What sets Counterpublic apart and makes it truly exciting is its commitment to prioritizing the community and showcasing the historical sites and organizations of St. Louis. Our exploration took us to locations such as The Luminary, The Griot Museum, and the George B. Vashon Museum of African American History. These sites not only offered direct engagement with the local community but also provided profound opportunities for delving into the rich tapestry of Black histories. At the George B. Vashon Museum of African American History, for instance, we not only experienced the works of Matthew Angelo Harrison but also were immersed in the extensive archive of unique historical objects carefully collected and preserved by the museum's founder and director, Calvin Riley Jr.
Reflections of the Towers by Tim Portlock (adjacent to the former site of Pruitt-Igoe)
Bird and Lava (Scott Joplin) by Torkwase Dyson at St. Louis Place Park
Untitled (Ripple) by Steffani Jemison at Union Station
Installations by artists like Tim Portlock, Steffani Jemison, Torkwase Dyson, and Black Quantum Futurism provided us with captivating insights into St. Louis' past and influences, prompting reflections on the legacies of significant sites such as Union Station, La Rose Room Cocktail Lounge, and Pruitt-Igoe.
Throughout the weekend, we had the privilege of witnessing the power of performative works, including Drum Grid by Raven Chacon, The Gathering by New Red Order and Cahokia Intertribal Noise Symposium, Laura Ortman’s performance at the Pulitzer, and the Wah.Zha.Zhe Puppet Theatre at the Water Acknowledgement located at Sugarloaf Mound. These immersive experiences demonstrated the transformative potential of art to engage and evoke deep emotions while highlighting the importance of acknowledging indigenous heritage and fostering cross-cultural dialogue.
Counterpublic's second edition not only showcased unique artistic creations but also fostered a sense of community engagement, collective healing, and a reimagining of St. Louis' future. As the second edition closed its doors, the impact it has left on the city's cultural landscape and its vision for social change will undoubtedly endure, inspiring future generations to envision a more inclusive and equitable society.
We are incredibly grateful for the generosity of the Counterpublic team and the curators, artists, and organizers who welcomed, met, and engaged with us throughout our trip.
Prospect Team with Nora Kovacs and Counterpublic curator Allison Glenn
Prospect Team with Counterpublic curator, Allison Glenn, and the Pulitzer Art Foundation team at Spring Church
