The Economy of Living Things

Thursday 30 November 2017 - Sunday 4 February, 2018.

The Economy of Living Things features work by four international artists – Ali Cherri, Steffani Jemison, Jumana Manna and Oscar Murillo – who draw on the visual arts, archaeology, music and literature to draw up an alternative map of modern migrations. The final part of the Satellite programme 10, the exhibition is concerned with the continual flow of people, plants, animals, artefacts and cultural products found in everyday life. It takes as its point of departure the recording of lived experience and the state of human progress in the twenty-first century. The artists frame their own subjectivity through the lens of the present while exploring deepening relationships between memory and fiction, communities and civilizations, the dead and the living.

Jumana Manna: Wild Relatives

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.

Steffani Jemison: Sensus Plenior

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.

Oscar Murillo: Estructuras resonantes

Tuesday 13 June - Sunday 24 September 2017.

Making use of its immediate environment, the work of Oscar Murillo (born in La Paila, Colombia, in 1986) indexes the quotidian moments of life, drawing upon personal memories and experiences. Working across different media, Murillo’s practice combines painting, sculpture and video to form intimate yet immersive installations. Today his work embraces a far-ranging practice that includes public interventions and performances, as well as community-based projects. Concepts are free to be transferred, distributed and repackaged through processes of exchange, collaboration and, most importantly, production. Influenced by non-Western practices of cultural consumption, his work encourages us to challenge forms of hegemony, while pointing towards alternative ways of being and living together.

Ali Cherri: Somiculus

Tuesday 14 February - Sunday 28 May, 2017.

The practice of Ali Cherri (born in Beirut, Lebanon, in 1976) is rooted in an ongoing investigation into the role of archaeology in the construction of historical narratives. Focusing on the spaces of conflict and catastrophe in the highly visible Middle East, Cherri’s work often observes the fragile presence of historical violence in its everyday environment. In Somniculus (“light sleep” in Latin), he turns his attention to the deepening relationship between the processes by which artefacts are excavated, collected and classified and the way these artefacts are understood through controlled systems of representation. Capturing the inner life of French ethnographic and anthropological museums, he presents a world in which fragments of past civilizations have come to represent the universality of human experience. Preserved within the structure of the museum display, artefacts live on as containers of their own place and time. 

Edson Chagas and Ibrahim Mahama

Wednesday 29 April - Tuesday 15 September, 2015.

Staged at A Palazzo Gallery, Brescia, the exhibition explores the relationship the practices of Edson Chagas (Angola) and Ibrahim Mahama (Ghana) in the form of a traditional two artist presentation. Utilizing the buildings unique architecture, various works share a dialogue throughout the interconnected spaces, drawing on themes from  urban progress and post-industrial landscapes through photography and site-specific installations.

Pangaea II: New Art from Africa and Latin America

Wednesday 11 March - Thursday 17 September, 2015.

Pangaea II: New Art From Africa and Latin America features the work of 18 emerging artists who provide an expansive insight into the work being produced against the backdrop of present day complexities in their respective homelands. Witnesses to the transformation of their societies, the artists working in these two distinctive regions are increasingly based within cities that are changing at an unprecedented rate. Their work employs a hybrid of traditional and contemporary techniques and materials, reflecting on social and political issues faced during this period of rapid urban and economic expansion. Including sculpture, painting, installation and photography, Pangaea II: New Art From Africa and Latin America explores the diverse cultural influences and thriving creative practices in the two great continents that were once conjoined as the prehistoric landmass of Pangaea.

Issa Samb: From the Ethics of Acting to the Empire Without Signs

Wednesday 4 June - Saturday 26 July, 2014, Iniva, London.

Born in Dakar in 1945, Samb founded the Laboratoire Agit’Art with a group including filmmaker Djibril Diop Mambety, painter El Hadj Sy, and playwright Youssoufa Dione in 1974. From its inception, the Laboratoire was a revolutionary and subversive artist collective that brought together many creative disciplines from painting to performance. Samb actively worked on the deconstruction of Leopold Sedar Senghor’s (the cultural theorist and first president of Senegal) aesthetics and views of Senegal’s artistic production that promoted a naive and fetishized idea of African symbols, decoration and beauty. With his actions, Samb has developed a recognisable approach of provocation, collective action and improvisation that is rooted in modes of contemporary art and theatre, the role of the artist in the society, and the interactivity of traditional African performance.