Gallery Review: Stan Douglas’ “Disco Angola” at the Victoria Miro

Stan Douglas has created a series of works that are staged photography with the appearance of documentary photography. The imagery takes context within the underground culture of Disco in New York and the liberation of Angola in the 1970’s. Both subjects are displayed parallel to each other or opposite the other in an exhibition for a more direct comparison.

What I find to be the most interesting aspect of the exhibition is the conceptual idea that Douglas is pursuing. He explores the idea of freedom and how both worlds are parallel in discovering their newfound boundaries. The meticulous nature of Douglas’ photography makes the staged works come across as documentary and true, which really questions the objectivity of photography.

Elements that may have informed Douglas’ works include his experiences with having lived through this period of time. Especially whilst the world was at war. The question of objectivity in photography also becomes interesting when considering that this period of time was at its peak for propaganda from the Media. It is considered possible that Douglas created these works as a response to the reception of truth during this time, possibly to challenge the system of control in the political hemisphere.

This might relate to the works of contemporary film, because showing the photographic parallels between locations gives the viewers a sense of the wider world. This feeling might be especially apparent as the pieces are situated across the other, which not only complements the other but also leaves the viewer with a sense of being immersed into the scenarios. Strangely it also leaves the viewers feeling like they are stuck in an omniscient plane, observing the doings of those in different countries. Especially when they’re of two different worlds undergoing similar situations. I believe that because of this format the viewer is more able to engage with the works that surround them, which goes against “traditional form” to think only inside of the frame. It also goes against “traditional forms” by staging documentary pieces of work, which brings forth a new conceptual layer regarding objectivity and truth.

What I might take from the content of this exhibition might be to explore the ideas of freedom and the parallels between the East and West. Especially considering the parallels between Germany and the Philippines, because both are typically stereotyped to be hard working. Also, the conceptual idea of questioning the objectivity of truth makes me less wary of staged photography. What I might take from the formal aspects of the work is Douglas’ methods of presenting works parallel to the other. This would give the pieces as sense of relationships and a comparison that can be made, especially when I am dealing with concepts that involve different cultures.