Solidarity and Shared Creation: A Review of the Carnegie International

The latest iteration of the Carnegie International powerfully underscores the essential role of communal endeavor and mutual support in both artistic creation and broader societal resilience. This exhibition transcends conventional notions of individual genius, instead illuminating how collective action fuels innovation and strengthens communities. Through a diverse array of global artists and practices, the show champions the idea that true impact arises from interconnectedness, fostering a deeper understanding of shared human experience and collective strength in the face of adversity. The carefully curated pieces echo a central theme: that complex narratives and profound artistic expressions are often born from the intertwining of multiple perspectives and collaborative spirit.

Central to this year's Carnegie International is the profound message that significant achievements, especially in art, are rarely solitary feats. The exhibition, entitled "If the word we," deliberately chosen from Haytham el-Wardany's reflections on the intrinsic link between individual and collective identity, brings together 61 artists and collectives from around the world. These artists, originating from diverse backgrounds including a Filipino online radio station and a Japanese ikebana foundation, challenge traditional concepts of authorship by emphasizing collaborative practices. The curators, Ryan Inouye, Liz Park, and Danielle A. Jackson, have meticulously crafted an exhibition that not only presents compelling artworks but also champions a more inclusive, globally aware artistic dialogue. This approach marks a noticeable shift from previous editions, with roughly half of the participating artists hailing from outside the US and Europe, further cementing the show's international scope and commitment to global representation.

The Power of Collective Artistry and Shared Narratives

The Carnegie International powerfully conveys that profound artistic achievements are often the result of collective endeavors, rather than solitary genius. This theme is vividly explored through works like Khalil Rabah's video, Shala Miller's installation, and the performance "Be Holding," which reinterpret historical and cultural narratives through a lens of shared experience and mutual reliance. The exhibition’s title, “If the word we,” directly speaks to the interconnectedness of individual and collective identity, demonstrating that true strength and innovation emerge from collaboration. Many artists, despite often working independently, have consciously sought to blur the lines of individual authorship, showcasing how communal efforts can yield more impactful and resonant art.

The exhibition's emphasis on collectivity is evident across various installations. Khalil Rabah's video "Critical Interrogations: Renewed Belief" depicts an act of supportive defiance, symbolizing community resilience. Shala Miller's video installation "Flight," inspired by Toni Morrison's narrative of liberation, metaphorically portrays the collective journey toward freedom. A poignant performance titled "Be Holding", developed by Brooke O’Harra with Ross Gay, Tyshawn Sorey, and Yarn/Wire, delves into the iconic gravity-defying dunk by Julius Erving, reinterpreting it not as an individual triumph but as a testament to collaborative spirit and mutual support. This re-examination highlights the underlying teamwork necessary for extraordinary feats. Furthermore, installations such as "Buolvvaiguin (With Generations)" by Sámi artists Hans Ragnar Mathisen, Joar Nango, and Elle Márjá Eira, underscore how artistic collaboration can honor heritage and confront contemporary challenges. These works collectively suggest that soaring to new heights, whether literal or artistic, is fundamentally a shared endeavor, reinforcing the exhibition's core message of solidarity.

Community, Heritage, and Abstract Expression

The exhibition delves into the profound connection between communal experiences, cultural heritage, and contemporary abstract art. It illustrates how shared histories and collective identities inform artistic practices that move beyond individual representation. Through works that reclaim and reinterpret indigenous narratives, or abstract compositions built on collaborative processes, the Carnegie International demonstrates art's capacity to reflect and strengthen community bonds. This approach challenges traditional art historical notions of isolated genius, presenting abstraction as a mode of expression deeply rooted in collective memory and shared efforts, fostering a renaissance of meaning within abstract forms.

Throughout the Carnegie International, several artists exemplify the fusion of community, heritage, and abstraction. The collaborative installation "La ceniza ya no recuerda qué causó el incendio. / The ash no longer remembers what caused the fire." by Claudia Martinez Garay and Artur Kameya, while complex in narrative, stands as a testament to a shared creative vision that transcends individual contributions, conveying a powerful sense of collective history and struggle. Similarly, G. Peter Jemison's updated survey of Native American artists from the Haudenosaunee confederacy, featuring works by Jay Carrier, Tom Huff, and others, reasserts the importance of ancestral knowledge and communal identity in shaping contemporary art. Miller Robinson's rearrangement of Indigenous baskets from the Carnegie Museum of Natural History’s collection, adorned with modern elements, symbolizes a contemporary dialogue with heritage. Georges Adéagbo's reimagined "Le Socialisme Africaine" incorporates elements of Pittsburgh's industrial history, such as the United Steelworkers sign, into a broader narrative of decolonization and solidarity. Even the abstract works, such as Hong Lee Hyunsook’s "What You’re Touching Now—Insubong in 2025," which required the assistance of other climbers to create, and Zhao Yao’s eggshell compositions dependent on complex supply chains, highlight how even seemingly individual abstract creations are often deeply intertwined with broader networks and communal support. The collective weaving project "Tewok: the river we weave" by the all-female Wichí collective Silät further underscores how abstraction can be a deeply communal and culturally significant practice, showcasing shared knowledge and interconnectedness.