Sunday’s Best considers how belief systems within the diaspora are inflected by colonial histories. As part of his current research Larry Achiampong is interested in the mutations of traditions and language that are birthed as a result of colonisation, and how this affects people today. In particular, the relationship with Christian imperialism and its impact on his tribe, the Ashanti.
The work is a confluence of the vivid sounds and images of praise and worship sessions in a Ghanaian community church, married with the stark interiors of a Catholic church. Documented across a number of sites in London, Sunday’s Best maps out a narrative of coming to terms with the incongruence of faith practices that straddle western and non-western influences in an attempt to reconcile these fragments of history, nostalgia and trauma.
Larry Achiampong’s solo and collaborative projects employ imagery, aural and visual archives, live performance and sound to explore ideas surrounding class, cross-cultural and post-digital identity.
With the expansion and sharing of information via the Internet, the idea of a one- size-fits-all version of history, as previously dictated, continues to be eradicated. Achiampong crate-digs the vaults of history, and splices audible and visual qualities of the personal and interpersonal archives offering multiple dispositions revealing the socio-political contradictions in contemporary society.
Achiampong’s works examine his communal and personal heritage – in particular, the intersection between pop culture and the postcolonial position, using performance to investigate ‘the self’ as a fiction, devising alter-egos to point at the divided selves.
Achiampong has exhibited, performed and presented projects within the UK and abroad including Tate Britain/Modern, London; dOCUMENTA 13, Kassel; The Institute For Creative Arts, Cape Town; The British Film Institute, London; Modern Art Oxford, Oxford; David Roberts Art Foundation, London; SAVVY Contemporary, Berlin; Bokoor African Popular Music Archives Foundation, Accra; The Mistake Room, Los Angeles; Logan Center Exhibitions, Chicago; and ‘Diaspora Pavillion – 57th Venice Biennale’ (Venice).