Dealing with questions of queer of color temporalities and black futures in dystopic times the Queer Frequency Modulation Collective interviewed Kara Keeling for a podcast. Her reflections echoed for quite a long while, which is why the collective chose to engage with the echo’s frequency and fashioned a sound installation. The radios the collective use in the installation refer back to Sun Ra´s technotopia of transmitting his philosophy of Astro-Blacks through sound.
Haciendo Caras/Making Faces: Connecting Identity, Resistance, Art, and Spirituality
‘Looking Back Forward_Quip Nayr’ is based on the Aymara concept of time and space called ‘qhip nayr’. As the Bolivian sociologist Silvia Rivera Cusicanqui refers to it, ‘quip nayr’ is a way of looking into the past to orient your path to the future. I use this concept to reflect on processes of change, concerning language, identity and place. Expressing identity on fabric recuperates my ancestors’ tradition from the Andean region in Abya Yala (Latinamerica). The layering of textiles is inspired by Gloria Anzaldúa, who uses fabrics as a synonym to talk about the construction of identity in her concept ‘Haciendo Caras’.
Why the Pictures Had to Come from Black. Looking with Myra Greene at Character Recognition
With her photographic series Character Recognition (2006–2007) U.S. artist Myra Greene examines historical constructions of race and racist ways of looking from a perspective that undermines the assumed neutrality of photography. She transforms the old ambrotype technique and encourages to reflect on the power that visual technologies hold over the representation of race and identity. Greene recalls yet disobeys nineteenth-century ethnographic visual practices and looking instructions, creating a technical and metaphorical deferral of the past into the present and of the present into the past. Her photographic practice unveils the ongoing violent effects of nineteenth-century scientific racism on present-day bodies and embodied ways of looking. At the same time, Character Recognition gives new life to the archives of visual colonialism and experiments with photographic representation and body memory as tools for decolonial options of non-normative (visual) spaces.
Ästhetik des Aufruhrs: Dekoloniale Verschiebungen im zeitgenössischen Theater
Zeitgenössische Theaterstücke von etlichen afrikanischen und afro-diasporischen Künstler_innen weisen im Theater eine Vielzahl ästhetischer Verfahren innerhalb eines breiten Spektrums dekolonialer Ästhetiken auf.
Kunstschaffende bringen – so die zentrale These – eine Ästhetik des Aufruhrs hervor, die nicht allein mit dem Prinzip des delinking zu fassen ist, sondern Prinzipien der Erhebung, des Aufschreis und des Verlachens umfassen. Künstler_innen kritisieren und dekonstruieren mittels satirischer, absurder und grotesker Elemente koloniale und postkoloniale Herrschaftsverhältnisse und nutzen das Verlachen von Gewaltverhältnissen als eine wichtige subversive Strategie. Diese These exploriere ich anhand des Stücks Im Namen des Vaters, des Sohnes und des J.M. Weston des kongolesischen Dramatikers Julien Mabiala Bissila.
Paying a Visit to the Queen—Tracing Dispersion, Looking for Disappearance
In 1897, during a colonial conflict with the Kingdom of Benin (in present-day Nigeria), British soldiers burned down the palace of the king and looted more than 2,500 bronze and ivory artefacts. Only four years after the looting of the Benin palace, most of the artefacts that were taken had become part of museum collections in Europe. Almost half of them were bought by museums in Germany.
This video accompanies the Nigerian art historian and artist Peju Layiwola and the Namibian historian and artist Memory Biwa during a visit to the collection of Benin bronzes held by the Ethnological Museum in Berlin. It is their second visit on the same day, immediately following a tour with the two curators of the museum’s African collection. While the Berlin curators remain absent, the almost whispered dialogue between the two activists unfolds a moment of resistance, both intimate and decisive, to the structural omissions of the institution’s voice.
Memoirs of Saturn
In a set of para-fictional texts which interweaves the life of cultural historian Dr. Shahidul Zaman with key moments in the ruptured history of Bangladesh, the artist Omar A. Chowdhury, builds a reflexive mirror to examine the nature of memory, of historiography, and the processes of the art system. Recounting the history of an exhibition that was censored and closed down in Dhaka in 2016, Chowdhury constructs a narrative that doubles back on itself along multiple axes of the personal and public as he and Dr. Zaman delve into the uncertainties in the presentation of identity, the recollection of history, and the compromises of political commitment.
The Path of Conocimiento, 2018
In this work, I relate to the path of conocimiento, a concept developed by Gloria Anzaldúa, which is a form of spiritual inquiry/activism, reached via creative acts—writing, art-making, dancing, healing, teaching, meditation, and spiritual activism. In writing and drawing, I weave lines to different realities: the rural upbringings of the women who raised me, my migration from the Third World, the meaning of home and belonging, and my connection to all that exists on the planet as political consciousness.
The Past in Presence/In the Presence of the Past: Creating ‚Fair Play‘, a 3D Installation
For Issue 8 of wissenderkuenste.de, filmmaker Ali Kazimi has contributed five images from an anaglyph version of his installation Fair Play. The principle is simple: Each stereo image consists of a pair of images: one for the left eye and the other for the right eye. All stereo viewing systems seek to isolate the images, so the left sees only the one intended for it, and the right sees the one intended for it. Our brain creates the perception of a 3D image while viewing a 2D screen by fusing these two slightly offset images together. Fair Play brings together all strands of Kazimi’s research including stereoscopic 3D filmmaking, stereoscopic 3D photographic history and images, as well as early twentieth-century Canadian immigration history and colonialism.
(Re-)connecting embodied archives. Künstlerische Forschung im Zinda Naach-Kollektiv
Das verstreute Material, das die Tournee des Indischen Balletts der Leila Roy-Sokhey alias Madame Menaka 1936 bis 1938 durch Deutschland und Europa dokumentiert, ist die Grundlage der in diesem Beitrag dargelegten Überlegungen über das Ordnen, Präsentieren und die künstlerische Erforschung eines globalen und intersektionalen Ereignisses zwischen Deutschland und Indien. Die komplexen Prozesse der Begegnung, Aushandlung und Neukonfiguration von Wissen im transkulturellen Kontext sollen darüber hinaus Gegenstand einer künstlerischen Auseinandersetzung werden.
Herausgegeben von Juana Awad, Maja Figge, Grit Köppen, Katrin Köppert.