{"id":752,"date":"2023-11-03T13:00:25","date_gmt":"2023-11-03T13:00:25","guid":{"rendered":"https:\/\/ventil.rs\/blog\/entertainment\/review-simone-leigh-is-exactly-where-she-wants-to-be-everywhere\/"},"modified":"2023-11-03T13:00:25","modified_gmt":"2023-11-03T13:00:25","slug":"review-simone-leigh-is-exactly-where-she-wants-to-be-everywhere","status":"publish","type":"post","link":"https:\/\/ventil.rs\/blog\/entertainment\/review-simone-leigh-is-exactly-where-she-wants-to-be-everywhere\/","title":{"rendered":"Review | Simone Leigh is exactly where she wants to be: Everywhere"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<div class=\"wpds-c-PJLV wpds-c-PJLV-hSmMVC-isLive-false\">\n<div class=\"wpds-c-jUMcim wpds-c-jUMcim-ibVGacg-css hide-for-print mb-sm\">\n<div class=\"PJLV PJLV-ieDMgMI-css flex items-center\" config=\"[object Object]\" data-qa=\"article-actions\">\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\"><button aria-label=\"Comment\" class=\"wpds-c-gPbxFP\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"var(--wpds-colors-primary)\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-kKAfCG wpds-c-efqEZa flex items-center justify-center brad-lg pointer transition-400 ease-in-out transition-colors\" aria-label=\"Comment on this story\"><title>Comment on this story<\/title><path d=\"M14 14V2H2v9.47h8.18L12.43 13ZM3 10.52V3h10v9.23l-2.5-1.66Z\"\/><\/svg><\/button><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Comment<\/span><\/div>\n<\/div>\n<div class=\"wpds-c-mfMEg\">\n<div class=\"wpds-c-kSOqLF wpds-c-hnjNCH wpds-c-kSOqLF-bywHgD-variant-primary wpds-c-kSOqLF-biynoz-density-compact wpds-c-kSOqLF-hZSyid-isOutline-true wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-futxca-cv wpds-c-hnjNCH-eNNUQD-cv wpds-c-hnjNCH-jGqLyO-cv\">\n<div class=\"PJLV PJLV-iPJLV-css\"><button type=\"button\" aria-haspopup=\"dialog\" aria-expanded=\"false\" aria-controls=\"\" data-state=\"closed\" data-testid=\"subscribe-cta-popup\" aria-label=\"Save\" aria-pressed=\"false\" class=\"wpds-c-kSOqLF wpds-c-kSOqLF-SQjOY-variant-secondary wpds-c-kSOqLF-eHdizY-density-default wpds-c-kSOqLF-ejCoEP-icon-left wpds-c-kSOqLF-icMJmxV-css\"><svg xmlns=\"http:\/\/www.w3.org\/2000\/svg\" viewbox=\"0 0 16 16\" fill=\"currentColor\" aria-hidden=\"true\" focusable=\"false\" role=\"img\" class=\"wpds-c-dJBvpf wpds-c-dJBvpf-idnLyH-css \" data-bookmark-status=\"notsaved\"><path d=\"M12 3v8.92l-3.38-2.7-.62-.5-.62.5L4 11.92V3h8m1-1H3v12l5-4 5 4V2Z\"\/><\/svg><span class=\"wpds-c-iSKIAI\">Add to your saved stories<\/span><\/button><\/div>\n<p><span aria-hidden=\"true\" class=\"wpds-c-fBEbFG\">Save<\/span><\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<div class=\"teaser-content grid-center\">\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">For her groundbreaking <a href=\"https:\/\/www.washingtonpost.com\/arts-entertainment\/2022\/04\/22\/venice-biennale-2022\/?itid=lk_inline_manual_2\" target=\"_blank\" rel=\"noopener\">presentation at the 2022 Venice Biennale<\/a>, American sculptor Simone Leigh took a page from history, borrowing a theme from the sordid 1931 Paris Colonial Expo. That early-20th-century carnival put the cultures of African and Asian peoples colonized by Western powers on display for elite Parisian audiences to consume. In Venice, Leigh covered the United States\u2019 neoclassical pavilion with a facade of wood and grass, turning the Palladian brick building into a thatched hut \u2014 an ironic backdrop for sculptures that point sincerely to African forms and history of the African diaspora.<\/p>\n<\/div>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">\u201cSatellite,\u201d the 24-foot-tall sculpture that anchored Leigh\u2019s show for the U.S. Pavilion, is now standing tall outside the Hirshhorn Museum and Sculpture Garden. Works from her Venice presentation, which traveled first to Boston\u2019s <a href=\"https:\/\/www.washingtonpost.com\/arts-entertainment\/2023\/05\/25\/simone-leigh-boston-ica-venice-biennale\/?itid=lk_inline_manual_4\" target=\"_blank\" rel=\"noopener\">Institute of Contemporary Art<\/a> earlier this year, are on view at the Hirshhorn through March 3, along with three new bronzes: \u201cBisi,\u201d \u201cHerm\u201d and \u201cOne Foot.\u201d<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Leigh\u2019s turn representing the United States in Venice has rocketed her to international stardom. Counting this latest show, no fewer than five museums in D.C. alone have shown her works this year, including the <a href=\"https:\/\/www.washingtonpost.com\/entertainment\/art\/2023\/09\/11\/smithsonian-american-art-museum-musical-thinking\/?itid=lk_inline_manual_5\" target=\"_blank\" rel=\"noopener\">Smithsonian Museum of American Art<\/a>, <a href=\"https:\/\/www.glenstone.org\/art\/exhibition\/simone-leigh\/\" target=\"_blank\" rel=\"noopener\">Glenstone<\/a>, the <a href=\"https:\/\/www.phillipscollection.org\/simone-leigh\" target=\"_blank\" rel=\"noopener\">Phillips Collection<\/a> and the National Gallery of Art, where another severe bronze holds pride of place in the East Building atrium: \u201c<a href=\"https:\/\/www.nga.gov\/press\/acquisitions\/2023\/simone-leigh-sculpture-acquired\/announcement.html\" target=\"_blank\" rel=\"noopener\">Sentinel<\/a>\u201d (2022). In advance of her show at the Hirshhorn, Leigh spoke about her studio process, newfound fame and a summer she spent living in D.C.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i>(This interview has been edited for length and clarity.)<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Since your presentation at the Venice Biennale, it seems that every museum in the country has rushed to display or acquire your work. How does that feel?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>It\u2019s exciting. It\u2019s also overwhelming. I\u2019ve lived outside this kind of glare for most of my life. I didn\u2019t expect to ever have my work be quite this visible. I\u2019m overwhelmed by it right now, to tell you the truth.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Can you describe some of the changes that you\u2019ve experienced?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>It felt important that my work is included in the East Building of the National Gallery of Art. I don\u2019t think that gallery has had a lot of change, so it was very meaningful for me to have my work placed in that particular spot. For me, it was a great achievement. On the other hand, Saisha Grayson, the curator who curated my work into the video show that\u2019s up at the Smithsonian American Art Museum right now, has been following my work and supporting my work for many, many years. So the other thing that\u2019s happening is the fruition of very long-term relationships that I\u2019ve had with curators over decades. The third thing is having this presentation at the Hirshhorn, which is another real achievement for me. I\u2019m excited because it will be the second iteration of the show, and I have tried to make presentations that are specific to each installation. I\u2019m excited the Hirshhorn will present three new bronzes.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Tell me about \u201cSatellite.\u201d What\u2019s the origin for this piece?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>\u201cSatellite\u201d is the kind of subject matter I\u2019ve been interested in for a long time. I like to think about the body and how it can be an apparatus for ancestor worship. There\u2019s a giving and receiving with the body. I\u2019m always riffing on different kinds of African art, sculpture and material culture. In this case specifically, I was thinking about the <a href=\"https:\/\/www.metmuseum.org\/art\/collection\/search\/312189\" target=\"_blank\" rel=\"noopener\">D\u2019mba mask<\/a>. The wooden apparatus used for the mask has become popular sculpture to collect in the West. It was included in the Peggy Guggenheim collection in Venice. \u201cSatellite\u201d is another part of the conversation about African art in an American Pavilion context.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> The U.S. Pavilion in Venice is a neoclassical building that resembles Thomas Jefferson\u2019s Monticello. For a piece called \u201cFacade,\u201d you obscured the pavilion by covering it with a thatched roof and wooden beams. What does that building mean to you?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>I was very aware of the building being Monticello-like and referencing that style of architecture and all the content that comes with that. Monticello was built by slaves. It wasn\u2019t that much of a shift to imagine another kind of building that has more early African forms. There\u2019s not as big a gap between the facade I created over the pavilion and the pavilion itself, if you think about how things are made and how value is created.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Your work pairs bronze and stone with materials historically associated with craft and women\u2019s work: ceramics, porcelain, terra cotta, raffia. Is there still an unfair negative connotation associated with these materials?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>That has definitely been a through line in the work, making labor more visible. Which is part of my obsession with terra cotta pots. Their value is so tied to the value of women, which is how I started my career in art, just thinking about that. People\u2019s attitudes toward ceramic materials in art have changed over the last 20 years really dramatically. I had an artwork rejected from a show that I applied for in maybe 2001. I was told by the curator that she would not show my work because it was ceramic. When I came to New York and started to work in art, a lot of artists were more interested in detritus, and more interested in getting rid of objects, and making more ephemeral art or art that could not be collected. And so I had to wait a long time before people could understand what I was doing. There was a sense that I was out of step with everyone else.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> You make full-size clay versions for your monumental bronze sculptures before you cast them. That\u2019s an unusual approach in sculpture. Can you talk about your process?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>What I\u2019ve learned is that if you take a smaller object and use 3D modeling to blow it up, it becomes something different than what you intended. The only way to really realize the object \u2014 to be viewed by the viewer in the way that you would want it to be understood \u2014 is to make it to scale. If you\u2019re looking down on something on a tabletop, it would appear completely differently than if you\u2019re looking up at it when it\u2019s something 24 feet tall. Also, it gives me the opportunity to improvise and change as I\u2019m building. That\u2019s a really important part of the process for me.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> You worked as an intern at the National Museum of African Art. What was that like?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>I worked with the ceramics curator, and I xeroxed all of these books and pamphlets that described West African and Southern African ceramic building techniques. These are texts that were written mostly by anthropologists or missionaries. I knew a lot of these texts that I was reading were fraught, because of the conundrum of anthropology as a colonial science. In college, I was reading Edward Said and \u201c<a href=\"https:\/\/www.washingtonpost.com\/archive\/entertainment\/books\/2006\/11\/12\/thirty-years-after-edward-saids-groundbreaking-orientalism-a-british-scholar-responds-span-classbankheadthirty-years-after-edward-saids-groundbreaking-orientalism-a-british-scholar-respondsspan\/eb591eef-76ed-4be2-9893-ebc415ec3ee3\/?itid=lk_inline_manual_31\" target=\"_blank\" rel=\"noopener\">Orientalism<\/a>\u201d and starting to learn a lot about post-coloniality, or what we were hoping would become a discourse around post-coloniality. Now we don\u2019t say that anymore, since it\u2019s not like colonialism has really stopped. The museum was relatively new. There were a lot of scholars of African art who didn\u2019t necessarily have a home in the U.S. to gather and have discourse with other people, so it felt very intellectually rich and exciting. It was exciting to be in a library of African art forms. I felt like I got access to a lot of texts. That was wonderful at such a young age.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>I think it was 1987, maybe \u201988.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Do you have strong memories of living in D.C. from that time?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>I remember going to the Ethiopian restaurant <a href=\"https:\/\/www.washingtonpost.com\/lifestyle\/food\/rip-meskerem-the-ethiopian-restaurant-that-shaped-adams-morgan\/2015\/05\/04\/c132b81a-f279-11e4-b2f3-af5479e6bbdd_story.html?itid=lk_inline_manual_37\" target=\"_blank\" rel=\"noopener\">Meskerem<\/a>. I remember going to a lecture on West African hand-building at Howard University. I met with Nigerian artist <a href=\"https:\/\/www.washingtonpost.com\/archive\/lifestyle\/1997\/04\/17\/a-moving-experience-in-sculpture\/c8ec8d98-15b5-40d4-924c-8ba9cdcd4100\/?itid=lk_inline_manual_37\" target=\"_blank\" rel=\"noopener\">Sokari Douglas Camp<\/a>, and she gave me a lesson on hand-building at Howard there in the studio one time. I remember listening to the curators go back and forth about how they could get people excited about <a href=\"https:\/\/africa.si.edu\/exhibitions\/current-exhibitions\/visionary-viewpoints-on-africas-arts\/dogon-style\/\" target=\"_blank\" rel=\"noopener\">Dogon statuary<\/a>, how to bring people into the building. It was amazing to hear those conversations.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><i><b>Q:<\/b><\/i><i> Has this level of success changed your studio practice at all?<\/i><\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\"><b>A: <\/b>I\u2019ve been able to make more work. I worked with one assistant for most of my career. Then before exhibitions, we would hire more people to work with us. Now I have a studio with 12 employees. That\u2019s as big as I can get. I don\u2019t think I can get any bigger without losing some control of the work. It\u2019s still something I\u2019m watching all the time. I\u2019m constantly tinkering to try to figure out what\u2019s exactly the right-size studio. I\u2019m in a great place right now. Especially because three of those people, three of the 12, are administrative support. So I\u2019ve been able to hire people to do enough of the administration, the emails and paperwork, that I\u2019m actually able to be more in the studio than I would have been five years ago. It\u2019s a thing. I\u2019ve reached my limit. I don\u2019t want a studio that\u2019s very big. I\u2019m in a good position where I don\u2019t feel pressured to make work at all. I\u2019m very happy with my studio practice right now.<\/p>\n<\/div>\n<div class=\"article-body\" data-qa=\"article-body\">\n<p data-testid=\"drop-cap-letter\" data-el=\"text\" class=\"wpds-c-cYdRxM wpds-c-cYdRxM-iPJLV-css overrideStyles font-copy\" dir=\"null\">Hirshhorn Museum and Sculpture Garden, Independence Avenue and Seventh Street SW. <a href=\"https:\/\/hirshhorn.si.edu\/\" target=\"_blank\" rel=\"noopener\">hirshhorn.si.edu<\/a>.<\/p>\n<\/div>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.washingtonpost.com\/dc-md-va\/2023\/11\/03\/hirshhorn-museum-sculpture-garden-simone-leigh\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Comment on this storyComment Add to your saved stories Save For her groundbreaking presentation at the 2022 Venice Biennale, American sculptor Simone Leigh took a page from history, borrowing a theme from the sordid 1931 Paris Colonial Expo. That early-20th-century carnival put the cultures of African and Asian peoples colonized by Western powers on display&#8230;<\/p>\n<p class=\"more-link-wrap\"><a href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-simone-leigh-is-exactly-where-she-wants-to-be-everywhere\/\" class=\"more-link\">Read More<span class=\"screen-reader-text\"> &ldquo;Review | Simone Leigh is exactly where she wants to be: Everywhere&rdquo;<\/span> &raquo;<\/a><\/p>\n","protected":false},"author":1,"featured_media":753,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"fifu_image_url":"https:\/\/www.washingtonpost.com\/wp-apps\/imrs.php?src=https:\/\/arc-anglerfish-washpost-prod-washpost.s3.amazonaws.com\/public\/HNY632TTM4I65CSJBRWR3GR52E_size-normalized.jpg&w=1440","fifu_image_alt":"","footnotes":""},"categories":[5],"tags":[],"class_list":["post-752","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-entertainment"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v17.8 (Yoast SEO v22.1) - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>Review | Simone Leigh is exactly where she wants to be: Everywhere - Breaking News<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/ventil.rs\/blog\/entertainment\/review-simone-leigh-is-exactly-where-she-wants-to-be-everywhere\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Review | Simone Leigh is exactly where she wants to be: Everywhere\" \/>\n<meta property=\"og:description\" content=\"Comment on this storyComment Add to your saved stories Save For her groundbreaking presentation at the 2022 Venice Biennale, American sculptor Simone Leigh took a page from history, borrowing a theme from the sordid 1931 Paris Colonial Expo. 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