Carrie Mae Weems, a pioneering visual artist known for her deep exploration of identity, power and historical narratives, has once more pushed the boundaries of art along with her latest work, . Produced by Shore Art Advisory and hosted on the Institute of Contemporary Art, it masterfully combines live music, spoken word, and video work to tackle the nuanced dialogue around monuments, memory, and racial healing.

This project is an element of a bigger meeting organized by One of manya corporation dedicated to advancing racial equality and constructing a more inclusive South. Weems’ connection to EPU, which has long worked to dismantle divisive narratives and challenge systemic racism, sets the stage for a conversation that feels each timely and timeless. “I have been working on the concept of contentious sites for several years,” Weems explains. “The show is an opportunity to meet artists and learn about the complex narratives surrounding monuments, especially in a place like Richmond.”

The importance of Richmond because the inaugural site of this show can’t be overstated. Once the center of the Confederacy, this can be a city whose monuments have sparked nationwide debate. Weems has long been fascinated by the symbolism of monuments, often asking in his work how public spaces can reflect painful histories and still function places of healing. For , The removal of Confederate monuments in Richmond becomes each background and topic.

At its core, this system is a multimedia experience intended to initiate dialogue. Weems collaborated with local and national artists, each bringing their very own interpretive perspective. Richmond’s Destiny One Choir provided hauntingly beautiful music, and renowned musicians Nona Hendryx, Jawwaad Taylor and Craig Harris added layers of sound that enhanced the performance. Harris, an achieved jazz trombonist known for addressing issues of social injustice through his compositions, led the band in a rating that was each reflective and emotionally charged. Spoken word by Carl Hancock Rux and Esther Armah offered powerful narratives that Weems skillfully combined with video installations.

“It gives the work a fuller dimension,” says the artist concerning the multidisciplinary approach. “We can express these ideas through music, visually, through poetry, and when we put them together we create something completely different.” By combining these forms, Weems allowed viewers to experience the complexity of her art on many levels.

Jazz and spoken word offer an immersive listening experience that deepens audience engagement. “Our lives would be nothing without music,” says Weems. “Sound is the heartbeat, the first utterance, and music shapes the rhythm of our lives.” For Weems, the use of sound was not only a creative selection, but in addition a fundamental part of conveying its emotional and mental weight. “Music gives pace and movement to the work, to the word,” he adds.

One of the predominant topics is who shall be remembered and the way. Weems, all the time aware of her family history, shares a private narrative about her grandfather, Frank Williams, within the show. “What happens to a man who has been honored in some way, but no monument has been erected in his name?” – he asks. This query, asked each to ourselves and to the audience, becomes a broader inquiry into the role of monuments in shaping collective memory.

Weems took the message beyond the stage through community art. In conjunction along with her Richmond debut, she designed 4 billboards displayed throughout the town from September 23 to October 20. Billboards with photos of empty pedestals and inquisitive phrases encouraged viewers to reconsider the aim and impact of the monuments. “I don’t tell people what to think,” Weems explains. “Rather, I present a set of considerations that may be important to their thinking and values. It is an encouragement for dialogue.”

As he prepares to travel to New York and Washington, D.C. in early 2025, Weems is open to the project moving forward. He plans to collaborate with other musicians, reminiscent of pianist and composer EJ Eyre, to experiment with music while maintaining his initial focus. “I know this version works”, award-winning Creative says, “but I’m willing to take a risk and experiment with different ways of interpreting these ideas.”

Ultimately, Weems sees her role as each an artist and a provocateur. “I hope to foster dialogue, even with those who disagree with me,” he says. The importance shouldn’t be in offering answers, but in asking questions on who and the way we remember, and concerning the values ​​we decide to guard in public spaces. This unforgettable and multi-layered performance encourages us all to reconsider the contested histories that shape our present.