54 Doi:10.1162/GREY a 00234 Glenn Ligon. a Small Band, 2015. Neon, Paint, and Metal Support. Installation Views, All the World F
Glenn Ligon. A Small Band , 2015. Neon, paint, and metal support. Installation views, All the World’s Futures, Fifty-Sixth International Venice Biennale, 2015–2016. © Glenn Ligon. Courtesy the artist; Luhring Augustine, New York; Regen Projects, Los Angeles; and Thomas Dane Gallery, London. 54 doi:10.1162/GREY_a_00234 Downloaded from http://www.mitpressjournals.org/doi/pdf/10.1162/GREY_a_00234 by guest on 26 September 2021 How to Hear What Is Not Heard: Glenn Ligon, Steve Reich, and the Audible Past JANET KRAYNAK In 2015, on the occasion of the Venice Biennale, Glenn Ligon prominently installed a large neon sign sculpture atop the façade of the Central Pavilion, one of the buildings in the historic exhibition’s giardini . The visibility of its site, however, stood in contrast to its muted presence and enigmatic message. Crafted from translucent neon and white paint and mounted on a horizontal scaffolding, the work comprised just three detached words (“blues,” “blood,” and “bruise”) that obscured the existing sign (for “la Biennal e” ). Extending an idiosyncratic welcome to visitors, the three words, at any moment, were illu - minated or not, yielding a playful, if nonsensical semiosis. Fragmented from any semantic context, the words were bound together only by the rhythmic sound pattern suggested by their repeating “b’-b’-b’s.” A Small Band , as the work is titled, that silently plays. 1 Ligon has used this strategy—of simultaneous citation and deletion—many times before, most notably in text paintings where he appropriates language only to subject it to processes of distortion and fragmentation, so that words succumb to illegibility.
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