The first solo exhibition by Miryam Charles presents the moving and haunting works of the Haitian-Canadian filmmaker as expansive installations. For the exhibition spaces at basis e.V., the artist has revisited her film Cette Maison alongside several short films, interweaving them through sound.

What emerges are polyphonic soundscapes that make central themes of her work tangible: the entanglement of grief, diasporic memory, identity, and exile.

Atlas for the Disappeared traces complex cartographies of listening and remembering. Voices and sounds from the artist’s personal archive accompany, open up, and counterpoint the visual layers of the films on display. Emphasis is placed on the cracks, gaps, and openings that lie beyond bounded narrative forms.
Accompanying songs, echoes, and resonances weave together fragmented experiences. With empathy and attentiveness, they affirm a sense of community and connection.

In the face of violent structures and sudden loss, Miryam Charles’ works generate moments of resistance. They imagine a space in which diasporic experience becomes powerfully and critically audible and visible in all its polyphony.

Supported by: