Records of African Black Queer (Times) – The invisible color of (V)Si(o)lence

Records of African Black Queer (Times) – The invisible color of (V)Si(o)lence:

Analogue Differences and Future Presences’n the Image

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Abdi Osman, Portals, 2014, installation view, picture: Lara Buchmann

Exhibition project by Abdi Osman in cooperation with researcher Mariam Popal.

The Invisible Color of (V)Si(o)lence – Analogue Differences and Future Presences’n the Image is the third line of this project’s title. The collages are problematizing different strings of queerness that overlap, intersect and assemblage.  The photos narrate stories that make an other normality sound. They are about the normality of queerness and blackness. They are about ‘being-Muslim’ as culturalized ‘race’ and about ‘being not-Muslim’ and about African (Diasporic) gazes. The images are about all the things in-between where meaning always lingers and then vanishes away into its other sublime physical states in specific times, mo(ve)ments and about what all that means: a range of entirely different possibilities, living next to each other, raising out from each other. The photographs invite us to look at doors in the background. Doors which can be understood as spaces that one has left behind or wants to enter. Doors that can be regarded as visas and borderlines into (one)other(s) wor(l)ds, doors that one has left behind or about to open or long ago has been excluded from entering. And yet, they seem to suggest that there is an other world over there that cannot be touched by our gazes, by the world, from this site of the image. The Photo-graphs silently also depict ‘religion’ as item, fetish and geopoliticized ‘culture’ and the possibilities of understanding. They are about spaces, gazes, about capabilities and matterings that linger in the future that we cannot know.

The photos graph from this future, gazing here at us, reminding us of what here is – a whole range of miss-possibilites that cry out for a materialized ethical turn, in the face of borders, wrongs and violence to which we are compliant, that we must reframe in order to get there. In a way these photos are archives of heterotopias of human imagination and how it (may) materialize(s) – hopefully.