variable dimensions
Tsumeb Fragments was produced for the exhibition at Kadist, “Comot Your Eyes Make I Borrow You Mine” in 2015. In Spring 2015, Nkanga travelled to Namibia, making her way along an almost entirely defunct railway line from Swakopmund to Tsumeb. The artist was intent on reaching The Green Hill in Tsumeb, an area renowned for its minerals, crystals and copper deposits. This hill had been hand-mined by the Ovambo for generations, who took solely what they needed. However, when Namibia became German South West Africa, the colonial regime began to mine The Green Hill industrially, extracting and exporting tones of minerals each year. What Nkanga encountered in Tsumeb was no longer a hill, no longer an active mine, but a dormant hole in the ground. The installation Tsumeb Fragments is born from Nkanga sifting through her memories of Namibia, and the vast amount of material she generated and collected in an attempt to formalize intuitively felt and invisible connections. The modular structure of the tables enables the reconfiguration of the fragments. The mine and its history are presented in their many faces: the image of a monumental hole in the landscape to which the artist dedicates a performance, fragments of stones and debris, archival images collected from the local museum, and the fascinating vision of a floating cluster of copper. The arrangement of the installation challenges the traditional modes of presentation of research-based practices.
Visual artist and performer, Otobong Nkanga’s (b. 1974, Kano, Nigeria) practice weaves together concerns about land, natural resources, architecture and the dynamic status of remembrance. Pivotal to this is examining, representing and altering ideas of geographies, home and displacement. Her multimodal works spans performance, installation, sculpture, drawing, textiles, photography and video. Instead of focusing on the differences between distinct objects and environments, Nkanga focuses on their similarities and connections. For Nkanga, the crucial element of connection is memory, stating: “Memory is not only an autobiographical state, but also an important notion in relation to objects that leave traces”.
Untitled (Perfect Lovers + 1) by Cerith Wyn Evans takes as its starting point Felix Gonzales-Torres’s seminal work Untitled (Perfect Lovers) , in which two clocks were synchronized and left to run without interference, the implication being that one would stop before the other...
– In which an intelligence going back to its place of origin discovers the agony of gods on which it thrives – Seventh and last episode of The Unmanned , “a flood” is set in 1542 as the first conquistadors enter the land later to be known as the Silicon Valley...
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The series The Memory of Trees is specifically about trees, and what trees have witnessed in South Africa: for example, trees that were used as locations for slave trading, or trees that was during the anti-Apartheid struggle as a kind of identifier for a safe house for activists who were fleeing from security forces...
En rachâchant is based on the short story Ah! Ernesto! (1971) by Marguerite Duras in which the child Ernesto does not want to go to school anymore as all that he is taught are things he does not know...
buZ Blurr, One Telling of the “Origin Story” at Straat Museum Amsterdam | Brooklyn Street Art BROOKLYN STREET ART LOVES YOU MORE EVERY DAY In the shifting culturescapes of urban contemporary art, STRAAT Museum’s latest exhibition, “Moniker: An Origin Story,” emerges as a poignant narrative that bridges the transient heritage of hobo monikers with the vibrant pulse of today’s street art scene...
Emilio Vedova: Venice’s Abstract Expressionist – Two Coats of Paint M9 Museum: Emilio Vedova, Rivoluzione Vedova, 2023, Installation View (photo courtesy of M9) Contributed by David Carrier / Emilio Vedova (1919–2006), who lived and worked in Venice, was once aptly dubbed the Jackson Pollock of the barricades...
Amy Bravo — I’m Going There With You — Semiose Gallery — Exhibition — Slash Paris Login Newsletter Twitter Facebook Amy Bravo — I’m Going There With You — Semiose Gallery — Exhibition — Slash Paris English Français Home Events Artists Venues Magazine Videos Back Previous Next Amy Bravo — I’m Going There With You Exhibition Installation, painting, sculpture, mixed media Upcoming Amy Bravo, Elegy to the Mustache, 2024 Graphite, wax pastel, acrylic on canvas, found objects, mirror and plaster — 54 × 36 × 1 in...