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.
We are proud to give you a little insight on the project of Ulf Vierke and Delio Jasse, Warning! Not Fixed
Warning! Not Fixed is a story about the act of looking and the illusion of images. It highlights the ephemeral that is also characteristic for this end of photography as process. There is one central question: How does the process of remembrance work? Images, namely strong images or artworks in our memory are different from what we usually call knowledge. Images ‘adhere’, they stick to our memory usually without being on hand immediately. But do they really become disposable in the sense of applicable knowledge later on? The hypothesis underlying our experimental installation rather assumes that the initial image stays intact without being remembered as such; in the process of remembering the image we create new images instead of bringing back the initial one. Thus like retouches we put layer over layer of new-remembered images on top of the initial one. A consequence of the “remembering” is not a destruction but distancing of the original image. In our installation every individual act of looking at the image pushes one-step away from the initial image. The individual process of remembering described above is turned into a collective process. Warning! Not Fixed is as much about the individual’s process of remembering an image, as it is about the collective venture “archive”. The archive unfolds as a process not that much about the past but about futures, possible future remembrance.
kara lynch is a time-based artist living en exilio in Brooklyn, NY. Born in the auspicious year of 1968. Ambivalent towards hyper-visual culture, she is curious about duration, embodiment, and aural experience ; and through collective practice and social intervention lynch explores aesthetic/political relationships between time + space. Her work is vigilantly raced, classed, and gendered – Black, queer and feminist. kara is a member of Interdiciplinario, La Linea, a feminist artist collective on the Tijuana/San Ysidro border. She completed her MFA in Visual Arts at UCSD, a Permaculture Design Certification from the Center for Bioregional Living, and and has been a research fellow in the African and African Diaspora Studies Department, University of Texas, Austin and the Academy for Advanced African Studies at Bayreuth University in Germany. She currently earns a living as an Associate Professor of Video and Critical Studies at Hampshire College in Amhest, MA.
Major projects include: ‘Invisible’ – an episodic, speculative installation and performance project; ‘Mouhawala Oula’ – a trio performance for oriental dance, live video and saxophone, ‘Black Russians’ – a feature-length documentary; and ‘The Outing’ – a video travelogue. Awards for her video and performance work include iFilms and PlanetOut and Individual artist grants from Lila Wallace, NYFA, NYSCA, Paul Robeson Foundation, and Franklin Furnace. She has participated in various artist residencies: Arts International Residency in Moscow; the Banff Centre for the Arts; el Laboratorio Fronterizo de Escritores/Writing Lab on the Border; and the Civitella Ranieri Center in Italy. She is published in XCP Streetnotes, Ulbandus Review, BFM, contributed audio to Cabinet Magazine, video to PocketMyths, and drawings/writings to the Encyclopedia Project v.II F-K. lynch is currently co-editing the forthcoming anthology: We Travelled the Spaceways – Black Imagination, Fragments and Diffractions.
Ruth Sacks is a South African visual artist who lives and works in Johannesburg. Her 3rd artist book, Twenty Thousand Leagues Under Seas, was launched in 2013. Group exhibitions include: The Global Contemporary: Art Worlds after 1989 at ZKM |Centre for Art and Media (Germany, 2011), Performa 09, facilitated by the Museum for African Art New York (USA, 2009) and Luanda_Pop Checklist at the 52nd Venice Biennale (Italy, 2007). In 2013 and 2014, she was one of the organizers of Regions A-G, a program of artist interventions at the Johannesburg City Library. Recent solo shows have been: Open Endings at TTTT in Ghent (Belgium, 2015), 2,000 Meters Above the Sea at the Center for Historical Reenactments in Johannesburg (SA, 2012) and Double-sided Accumulated at Extraspazio in Rome (Italy, 2010).
Sacks was born in Port Elizabeth, South Africa, in 1977. She is currently based at the Wits Institute for Social and Economic Research (WiSER), where she is a doctoral fellow. Together with Simon Gush, she facilitates the collaborative arts platform, the Parking Gallery, which was hosted by the Visual Arts Network of South Africa (VANSA) in 2012 and 2013. She is a laureate of the Higher Institute for Fine Art (HISK) in Ghent, Belgium.
I tend to look at historical moments in architecture and the applied arts, particularly from the late 19th century, as a way of commenting on contemporary environments. I work with fictional narratives a lot; writing my own texts but also adapting existing material and familiar motifs to encourage new interpretations of dominant themes. I am interested in using installations and book works as a way of testing various design systems while at the same time developing new ones.
Kitso Lynn Lelliott is a filmmaker and artist based in Johannesburg South Africa. She has Bachelors degree in Fine Art and a Masters in Film and Television from The University of the Witwatersrand. Her work is preoccupied with articulations from positions beyond epistemic power and opening up spaces where the huge silences of subjectivities that have been written out can come into view. She is interested in ways that narratives and histories become privileged, those that proliferate being those that reflect and reinstate the power structures of globalisation as it has emerged from a colonial and imperial past. Her preoccupation lies in ways historical narratives shape our contemporary world and processes of revisionist re-membering of histories as a way of engaging memories, traumas and ghosts of the past.
Her work has shown at film festivals and exhibited in galleries and museum shows around the world including Africa in Motion, Cine Sud, Cap au Sud, Tri-Continental FF, Next Reel FF, the Uganda Museum, Galerija101 Lithuania, the Goethe on Main, Nubuke Foundation gallery in Accra and Johannesburg Art Gallery. She participated in the Durban Talent Campus and the Berlinale Talents. Kitso is alumna of the CCA Lagos Asiko art school residency at the 2014 Dak’Art Biennale. She was named as one of the Mail and Guardian’s 2014 leading 200 young South Africans, is laureate of the 2015 Visas pour la création Grant awarded by the French Institute and will exhibit in the Bamako Encounters 2015. She is currently working through video and installation dealing with socio-cultural formations that took shape over the Atlantic during the African slave trade, a project initiated during a two-month artist’s residency in Brazil supported by the UNESCO Aschberg Bursaries program and the Sacatar Foundation. She is pursuing her PhD, which is concerned with narratives of and enunciations form spaces of elision and the imaginative relationship between the African Diaspora in Brazil and the west coast of Africa.
Ingrid LaFleur uses multiple forms of media to investigate possible avenues for psychosocial healing. With a special interest in the idea of transcendence, LaFleur researches ancient practices of ritual and alter making, mythologies, alternative healing modalities and spirit science. Ultimately LaFleur creates receptive spaces for engaging “blackness” and dismantling the fear associated with the black body.
In 2012, LaFleur founded AFROTOPIA, an evolving creative research project that uses Afrofuturism as a social engagement practice. The project website is afrotopiaisnow.com
Based in Detroit, LaFleur has presented her work on Afrofuturism at Centre Pompidou (Paris), University of Bayreuth (Bayreuth, Germany), Bucknell University (Lewisburg, PA), TEDxBrooklyn, TEDxDetroit, College for Creative Studies (Detroit) among others.