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.
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.
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, as well as 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, these artefacts live on as containers of their own place and time.
Wednesday 29 April - Tuesday 15 September, 2015.
Staged at A Palazzo Gallery, Brescia, the exhibition explores the relationship between the practices of Edson Chagas (born in 1977 in Luanda, Angola) and Ibrahim Mahama (born in Tamale, Ghana in 1987) 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 of urban progress and post-industrial landscapes through photographic series and site-specific installations.
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.
Thursday 16 October - Sunday 19 October, 2014.
Younes Baba-Ali, Fayçal Baghriche, Eric van Hove, Mohamed Arejdal, Nicène Kossentini, Amina Menia, Meschac Gaba, Ibrahim Mahama, Miriam Syowia Kyambi, James Muriuki, Otobong Nkanga, Zina Saro-Wiwa, Athi-Patra Ruga, Ato Malinda, Sammy Baloji, Andrew Esiebo, Derrick Adams, Dan Halter, Cameron Platter and Barthélémy Toguo.
Wednesday 4 June - Saturday 26 July, 2014, Iniva, London.
Born in Dakar in 1945, Issa 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 society, and the interactivity of traditional African performance.