Santiago Mostyn


Red Summer Edit (Beach Arrests)
2019

Three archival inkjet prints in oak shadow frames, wheatpaste, posters. 

Poster image sources (l to r):

African-American man being detained during the Tulsa Race Riot. The man is standing next to railroad tracks and is holding his hands in the air as if being arrested. Several white men watch from the other side of the tracks. Unknown photographer, 1921.
– Tulsa Historical Society & Museum, Tulsa, Oklahoma

Bullet holes in back of stage where Malcolm X was shot / World Telegram & Sun photo by Stanley Wolfson, 1965.
– U.S. Library of Congress Prints and Photographs Division,
Washington D.C. 

Oakland, Calif., Mar. 1942. A large sign reading "I am an American” placed in the window of a store on December 8, the day after Pearl Harbor. Dorothea Lange, photographer. 
– U.S. Library of Congress Prints and Photographs Division,
Washington D.C.

The Warming Plateau
2018

Solo exhibition at Andréhn-Schiptjenko, Stockholm

The Warming Plateau refers to a set of statistics often used to justify climate change skepticism as they appear to indicate that global average temperatures have been declining over the past fifteen years. However, if one has a more long-term view it is clear that each of these plateaus has been higher than the last, and the world is actually heating up very quickly. The Warming Plateau serves here as a metaphor for looking at the objects and films in the exhibition, in that what may appear as a formalist arrangement – of plants, a wooden sculpture, photographs, a film – is to be understood as connected gestures that relate both to ways of looking at a colonialized past, and to our anthropogenic present.

Read more here.

Installation photographs: Jean-Baptiste Béranger



The Warming Plateau [film]
2018

16mm to 2K transfer, stereo sound, colour/black & white, 12’00”

The Warming Plateau was recorded on Tobago, an island unique among the former British West Indies in that much of its West African heritage survived the obliterating effects of slavery and exists in vibrant tradition long into the present day.

One segment of the film recalls the legend of Gang Gang Sarah, the ‘African slave witch’ who, wishing to return to her homeland, climbed the sacred Silk Cotton tree and tried to fly, not realizing she had lost her powers during her stay on the island. 

The other segment of the film shows four men cutting their way through the jungle, making measurements, calling out to each other, working on something that comes into focus as a kind of land claim or marking of territory. The film as a whole is a portrait of the island as a sentient being, showing sites of past and present exploitation.

Stills and excerpt courtesy the artist and Andréhn-Schiptjenko.