Untitled (In Suspense)

The work Untitled (In Suspense) by Forbes comprises an installation featuring twelve figures suspended upside down by ropes attached to their ankles. These ropes hang over four steel poles, each three meters high, which crisscross and attached to the surrounding walls near the floor. Some of the figures are adorned with life jackets, and additional life jackets are scattered on the floor. These figures, moulded in Jesmonite, loosely resemble 'Christ' like figures, but lack arms. The installation also incorporates a couple of warning posters. In addition, there are plans for a large-scale photographic piece depicting 'Mary' and two children, with the 'Mary' figure holding a club while standing on a black man's chest, flanked by a small crucifixion and two tall candelabras.

The context of this installation lies in Forbes' long-standing questioning of religion, with a particular focus on Christianity and its role in defining racialised differences based on skin tone. Forbes critiques how Christianity has historically been used to justify racialised hierarchies and the marginalisation of black and brown people. Central to this critique is the narrative of the Curse of Ham, which has been employed to rationalise societal inequalities and racialised discrimination.

 

This last form of invisibility has already arisen in these reflections, through a challenge to double consciousness, or the imposed, false image, born of historical misrepresentation and produced by institutions, of blacks and other people of color. If whites are the only agents of history, then only the products of whites would be historical. This is the whitewashing of history—whether cultural, intellectual, political, social, or even theological or mythical: even ancient Egyptians and Judeans, and Jesus in particular, become white.

Lewis Gordon

 

Forbes poses a critical question: How can one reconcile the veneration of Christ with the unjust benefits accrued from being white? This paradox is a focal point in Untitled (In Suspense), where Forbes explores the dominance of the white European male image of Christ and its role in establishing racial categories and hierarchies.

The life jackets within the installation reference the perilous journeys of migrants crossing the Mediterranean and the English Channel in unsuitable boats, often resulting in loss of life, while seeking improved living conditions, encapsulating the broader tragedy of modern migration.

This imagery draws attention to the lack of support for migrants and the numerous abuses they suffer enroute to trafficking points in North Africa. By incorporating life jackets, Forbes juxtaposes themes of salvation and safety with the precariousness of the figures' suspended states, thereby evoking a sense of tension and discomfort.

Forbes’ critique extends to the broader socio-political dynamics that frame contemporary migration. The depiction of Europe and white settler nations as desirable destinations is juxtaposed against the harsh realities faced by migrants. These regions, though perceived as lands of opportunity, are increasingly enacting stringent measures to deter and control the influx of migrants. The contrast between the perceived opportunities and the actual reception of migrants highlights the ongoing tensions and ethical dilemmas inherent in global migration policies.