Have a look at Ingrid LaFleur process of the installation THE RESONANCE, with some reflections by Nadine Siegert and images of the performance at Iwalewahaus.
Insights and background information on Kae Sun´s video project, realized with the inspirations by Emeka Alams and Simon Rittmeier. Some reflections on their beautiful project are given by Katharina Fink. Here you can get the booklet download.
Zohra Opoku and Emeka Alams created a wonderful fabric installation called Fallen. Get some more insights to their project in the booklet provided to download here.
Since the exhibition FAVT is not only quite comprehensive, but also quite extensive, in size as well as context, we created booklets, little guiders, to explain in a little bit more detail what the artwork shown is concerned with and how the exchange and collaboration of artist and researcher reveals itself in the process. Additional they incorporate reflections on the artworks and the specific projects. In this innovative process not only differences between the approaches appear, but more importantly, the communalities shared by the different disciplines.
The booklets connect the artists and researchers, but also the curatorial concept underlying the project. Through 8 keywords relating to specific aspects of the topic: Future Africa – Visions, the connection between each project of the exhibition and the research of the Bayreuth Academy is made even more visible.
Designer Emeka Alams created symbols for each keyword presented in the booklets according to the kategorization made by the curators. They represent the aspect of future reflected on in the artwork and therefore serve as a guiding line through not only the physical exhibition space but also the mental journey it takes you on.
Information, background and reflections on the project My Own Exotic by Fabio Vanin and Michael Hauhs are to be found here.
From today on we will provide you with the possibility of downloading the booklets for each project shown in the exhibition FAVT. The booklet offers a great insight into the project´s process and the approaches applied by both the artist and the researcher, as well as additional images and material.
The set off it made by Tumi Mogorosi´s and Kupakwasha Mtata´s project LET IT RAIN.
Since you may have now seen the exhibition, we also want to let you take part in our exciting journey of the last week´s preparations. Stress, mistakes and difficuties that needed to be resolved included. But mostly, since almost all of the artists arrived in the course of the week and we all had a lot of fun together installing the artworks. A BIG BIG thank you to everyone who help making this exhibition what it is!
But see for yourself.
Up on a neck of a sacred hill known as Njelele is a shrine comprising a level open ground, more or less the size of a basketball pitch, and, by its side, a cave with two chambers . With only two small paths approaching the shrine from opposite directions, the space around is covered by trees and large rocks, making it into an ideal natural sanctuary. It is here at the shrine that on special days during the year, usually in the darkness of night, the people that call to Mwali for rain and fertility gather for that purpose. Having slaughtered an offering bull, they roast the meat and eat it unsalted. Opaque home-brewed beer is shared and some of it is poured
to the ancestors on a rock. The drinking and eating is followed by the beating of drums, singing and dancing, activities that continue to the early hours of the morning.
Tumi Mogorosi’s installation presents an aesthetic response to research material provided by Kupakwashe Mtata. Zooming into rain-making celebrations at the Njelele Shrine in Matobo, Matabeleland in Zimbabwe, his jazz composition enters into a conversation with the rough and shaky visual notes recorded during research trips. Experienced as patterns of images and sound they evoke an atmosphere of anticipation but also of presence, of the “future” being already there. Different spiritual registers are in action such as Metatron, a mythical angel of mediation, and Njelele-based rituals of rain-making which are calling a future into being. The rain asked for here is not necessarily water drops from a cloudy sky but invokes other showers of blessings, too.
“If the theory is correct that feeling is not located in the head, that we sentiently experience a window, a cloud, a tree not in our brains but rather in the place where we see it, then we are, in looking at our beloved, too, outside ourselves.”
Walter Benjamin, Einbahnstraße, 1928
Zohra Opoku’s and Emeka Alams’ first collaborative installation presents a figure resembling a fragmented angel. The work is assembled from remnant textiles gathered in Lagos, Nigeria and combined with objects and a black banner carrying abstract symbols. The installation poses questions that run like threads through the exhibition as a whole: Is “future” necessarily a fragment, a new combination of existing material, rather than a solid vision or a linear story? Looking at the installation, Walter Benjamin’s famous “Angel of History” comes to mind: staring at
the past, unable to interact, heal or alter it, the angel is pushed towards the future. There are many other possible perspectives on futures as the fragmented angel here suggests, looking to all directions, simultaneously.