Saturday 24 November 2018 - Sunday 10 February 2019
Dineo Seshee Bopape’s expansive multi-media practice explores memory, narration, and representation as contingent forms. Drawing on a diverse range of visual and conceptual matter, her work often utilises commonplace materials (soil, bricks, timber) and archival images, as well as natural and technological systems as support. Dineo’s new installation at Collective has been created in relation to the rich history of the City Observatory site on Calton Hill. Combining carefully selected materials and forms, the work considers notions of spirituality, cosmology, astronomy and astrology.
Thursday 30 November 2017 - Sunday 4 February, 2018.
Presenting the work of four international artists The Economy of Living Things draws upon fields of visual art, archaeology, music and literature to reveal an alternative map of modern migrations. The exhibition is concerned with the constant flow of bodies and the movements of plants, animals, artefacts and other cultural products found in everyday life. Composed as a series of four solo exhibitions, it takes as its point of departure the recording of lived experience and the state of human progress in the twenty-first century. It is through the lens of the present that artists frame their own subjectivity while considering the deepening relationships between memory and fiction, communities and civilisations, the dead and the living.
Thursday 23 November 2017 - Sunday 04 February, 2018.
Palestinian artist Jumana Manna (born in the United States in 1987) makes films and sculptures that explore the ways in which social, political, and interpersonal forms of power interact with the human body. Her films weave together fact and fiction, biographical and archival materials, to investigate constructions of national and historical narratives. Her sculptures, more abstract by comparison, take interest in the calcifications of memory, as represented by the artefact real or forged. In recent projects, Manna has used film and sculpture to recompose various archival materials that pertain to historical narratives of the Levant and northern Europe as separate and relational geographies. These works have explored the ways in which economic, political and interpersonal forms of power condition architectural sites as well as human and plant life.
Tuesday 17 October, 2017 - Sunday 21 January, 2018.
Steffani Jemison (born in Berkeley, United States, in 1981), who is based in New York, combines time-based media and discursive platforms to examine African-American culture. Interrogating the limitations of language, Jemison’s work resists the logic of conventional storytelling to expose the entanglements of time, history, and progress. The new commission she produced for the Satellite programme, Sensus Plenior (Latin for “fuller meaning”), considers the relationship between language, gesture, and song in black gospel pantomime, focusing on the work and ideas of Reverend Susan Webb and the Master Mime Ministry of Harlem. Through their elaborate and ecstatic choreography, the gospel mime performers draw on dual genealogies that can be traced both to the revolutionary mime artist Marcel Marceau and West African dance traditions.