H-E-L-L-O

Collective Edinburgh is delighted to present Los Angeles-based artist Cauleen Smith's first solo exhibition in Scotland!

H-E-L-L-O

About H-E-L-L-O

22nd Jan 2022 to 1st May 2022
10am - 4pm
Collective Edinburgh
City Observatory 38 Calton Hill, Edinburgh New Town EH7 5AA
This is a free event
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Collective’s 2022 programme opens with a new exhibition of Los Angeles-based artist Cauleen Smith’s film H-E-L-L-O. This will be Cauleen Smith’s first solo exhibition in Scotland and the film explores a search for connection during a time of uncertainty and unrest. The exhibition takes place from 22nd January to 1st May 2022.

Smith’s work reflects upon the everyday possibilities of the imagination. For over three decades she has employed radical thinking to envision a better world through film, video, sculpture, textiles, installations and drawings. Bringing together themes of historic erasure, presence and loss, Smith believes in the redemptive and transformative power of art, music and text. Drawing from the language of Third World Cinema, science fiction and Structuralist film, Smith explores themes relating to the African diaspora, environment and the human condition.

H-E-L-L-O, made in 2014, signals a search for connection in a time of uncertainty and unrest. H-E-L-L-O translates the famous five- note musical motif from Stephen Spielberg’s Close Encounters of the Third Kind into a greeting for sites around post-hurricane Katrina New Orleans loaded with the histories of music and procession.

At each site, musicians from the city play the sequence on a series of instruments, from trumpet, to cello and bass saxophone. Their interpretations of the sequence, originally written by film composer John Williams as a coded extra-terrestrial hello, speak mournfully of New Orleans’ enduring spirit despite a troubled recent past and uncertain future.

Presented in Collective’s City Dome space, H-E-L-L-O sits alongside the rich history of the site as a place of astrological study and observation, monument, time and communication, themes at the heart of Smith’s work. Although situated in the geography of New Orleans, the film allows us to contemplate Edinburgh’s relationship to its own landscape, inhabitants and history in a time of turbulence and change. The architecture of the site brings together Smith’s deep- rooted interest in science fiction, Afrofuturism and public space. When the need for connection is increasingly imperative, Smith’s faith in the importance of culture and trust in transformation is not only essential, it’s how we might begin to heal.

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