1.6.–27.7.2019, Centro Cultural Helio Oiticia, Rio de Janeiro
Nome Próprio is my first solo exhibition in Brazil and was curated by Sabrina Moura. The public program was curated by Lorena Vicini. The exhibition brings together a selection of my Demounting Louis Agassiz project. The public talk on the 1.6. at 4pm is held by Prof. Maria Helena P.T. Machado, Sabrina Moura and me.
The exhibition Nome Próprio is supported by the Pro Helvetia Foundation in the context of the program «COINCIDENCIA – Cultural Exchanges between Switzerland and South America», in partnership with Frame Contemporary Art Finland and Capacete. The public programs have the support of the Goethe-Institut Rio de Janeiro.
21.3.2019, New York Times, Bosten Globe, 20min, CNN, Huff Post...
Tamara K. Lanier, great-great-great grand-daughter of enslaved Renty is suing Harvard University for the ownership of the daguerreotypes of her ancestors.
The daguerreotypes were commissioned by Louis Agassiz (1803-1873), who was a proponent of "scientific" racism and a pioneering thinker of segregation and “racial hygiene”. Agassiz ordered Renty and other enslaved men and woman to be photographed on a South Carolina plantation, “to prove the inferiority of the black race”.
We have known Tamara since 2012 after her daughters found the petition website http://www.rentyhorn.ch I started in 2008 as part of my ongoing artistic work (started with Rentyhorn, 2008) which sprung from the Demounting Louis Agassiz campaign Hans Fässler founded in 2007 and after he invited me to become a member of the transatlantic committee of "Demounting Louis Agassiz".
In 2017 we met Tamara in Staten Island, NY and wanted to portray her while holding Renty’s photo in response to her not even getting the copyright to her ancestor's photographs at first. I posed the question, who should have the right to own these images today and who should have the right to show them and how? I am glad that you Tamara act and stand up for your ancestors and I wish you all the strength and love. I will continue to do so too and defend the dead which are still alive through us.
13.3.2019, 6-7.30 pm, Göteborgs Konsthall, SE
My video I Love JaNY, screes within the Black Light part 2: Black Women exhibition film programme curated by Temi Odumosu.
What does it mean to know and experience the world in (under) a “black light”? This programme engages themes of presence, absence, memory, and illumination through African and African diasporic filmmaking. The moving images presented here explore blackness conceptually in the way Édouard Glissant describes as ‘a knowledge becoming’; travelling along deep historical pathways, moving through and between embodied realities, and even reimagined in dreams. These images are sensitive, bold, and heartfelt. Truth and fiction are woven into stories, that offer points of connection.
24.2.2019, 12–2pm, Dublin, IR
Lecturing about my art practice and research at the "UCD School of Sociology Series in association with MA Race, Migration & Decolonial Studies & UCD Parity Studios".
30.1.2019, 4-6pm, BGI’s Kallio Kunsthalle, Wellington
Welcome to our open studio to see what we have been working on for the past several weeks. I have been working collaboratively on an artwork called Waiting for Te Whiti. This is my first collaboration with Te Āti Awa wood carver, Ihaia Puketapu. Te Whiti o Rongomai III (Te Āti Awa, 1830s-1907) was a spiritual leader of Parihaka in Aotearoa New Zealand and forerunner of the passive-resistance movement.
Support by Arts Promotion Centre Finland, Wellington City Council, BGI.