Saturday, July 26 2014, 7pm
SAVVY Contemporary I Richardstr. 20 I 12043 Berlin-Neukölln
The project "Giving Contours to Shadows" is a multi-part research and exhibition project encompassing performances, as well as roundtable discussion programmes in Berlin and in five satellite projects in Marrakech, Nairobi, Dakar, Lagos and Johannesburg.
"Giving Contours To Shadows" takes its cue from the Glissantian conception that History cannot be left in the hands of historians only. In that sense, the project explores the ways in which artists, curators and thinkers relate to their own epoch, to times past and to the drawing of prospective trajectories, thus weaving alternatives into existing narratives: from embodiment practices to the pre-writing of History.
"Giving Contours to Shadows" is collaboration between Neuer Berliner Kunstverein and SAVVY Contemporary, and is funded by the TURN Fund of the German Federal Cultural Foundation and Ernst Schering Foundation.
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A live concert of SVEN KACIREK, hosted by Daniel Daoudi, will take place on the occasion of our Giving Contours to Shadows Finissage.
Time: 7pm
Place: SAVVY doc / library
„The Kenya Sessions“ features Sven Kacirek, experimental drummer and electronic producer, and recordings of a range of legendary Kenyan musicians such as vocalist Ogoya Nengo and Joseph Oganga. Using recordings taken during a month of traveling along the Kenyan coast and near Lake Victoria, Kacirek plays marimba, piano, and various other percussion to flesh out his conception of a musical journey through the country.
Sven Kacirek has a background as virtuoso jazz drummer. He studied at Drummer’s Collective in New York, played several Solo-Shows at the World Drum Festival and has written books on the experimental use of electronics on the drumset.
An Exhibition and Research Project
Lerato Shadi
Curator: Dr. Bonaventure Ndikung; Co-curator: Dr. Elena Agudio; Roundtable Series Co-curator: Storm Janse van Rensburg
SAVVY Contemporary I Richardstr. 20 I 12043 Berlin-Neukölln
Opening Hours: Thursday to Sunday 4-8pm
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Giving Contours To Shadows takes its cue from the Glissantian conception that History cannot be left in the hands of historians only. In that sense, the project explores the ways in which artists, curators and thinkers relate to their own epoch, to times past and to the drawing of prospective trajectories, thus weaving alternatives into existing narratives: from embodiment practices to the pre-writing of History.
Artists: Mathieu Kleyebe Abonnenc (GF), Jelili Atiku (NG), Fayçal Baghriche (DZ), Neïl Beloufa (FR/DZ), Halida Boughriet (DZ), Marcio Carvalho (PT), Virginia Chihota (ZW), Chimurenga Lab (ZA), Em’kal Eyongakpa (CAM), Mounir Fatmi (MA), Badr el Hammami & Fadma Kaddouri (MA), Adelita Husni-Bey (IT/LYB), Wanuri Kahiu (KE), Bouchra Khalili (MA), Kiluanji Kia Henda (ANG), Kapwani Kiwanga (CA/TZ), Donna Kukama (ZA), Ato Malinda (KE), Ingrid Mwangi/Robert Hutter (DE/KE), Paulo Nazareth (BR), Otobong Nkanga (NG), Ahmet Ögüt (TR), Lerato Shadi (ZA), Alexandre Singh (FR/USA), Hank Willis Thomas (USA), Emma Wolukau-Wanambwa (UK).
Giving Contours To Shadows is a project by SAVVY Contemporary and Neuer Berliner Kunstverein (n.b.k.), Maxim Gorki Theater, Gemäldegalerie Berlin, Centre for Contemporary Art of East Africa (CCAEA, Nairobi, Kenya), Ke?r Thiossane (Dakar, Senegal), 5th Marrakech Biennale Satellite (Marrakech, Morocco), Video Art Network (VAN Lagos, Nigeria) and Parking Gallery/ VANSA (Johannesburg, South Africa).
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CONCEPT
"History (with a capital H) ends
where the histories of those peoples
once reputed to be without history come together.
History is a highly functional fantasy of the West,
originating at precisely that time
when it alone ‘made’ the history of the world."
Édouard Glissant
It is common knowledge that history and the privilege to write history is one of the most prestigious chalices, earned or seized by any victor or person in power. In its multi-dimensionality, it is the concoction of the real/truth, the fictitious, and the untold that makes history what it is, especially as it is the case that the silent voices in history are much louder than the voices which have found a way into our ears today.
The art and research project Giving Contours to Shadows focuses on voiceless shadows and on alternative narrations in which all is said without necessarily uttering words. The reference to Édouard Glissant’s opacity in the title is a poetic allusion to giving forms to historical narratives, but also a wink at the sheer elasticity and fluidity of history: artists and contributors to the project Giving Contours to Shadows do not strive to find words for a history that has been omitted; willingly or unwillingly, they recount the past and history’s trace to the present through works that stand as a voice of the unspoken or the unuttered, and they do not seek to represent “historical facts” but dare to portray an alternative historical narrative and question the dominant canon. As an alternative medium to language, art succeeds in occupying the space between the “factual” and the “nonfactual”.
Giving Contours to Shadows will have Africa as its point of departure to reflect on philosophical and historical aspects of global concern. The project is thus interested in casting light on alternative narrations and epistemologies, as well as on another art history. The project will investigate and deliberate on new narratives beyond the colonial/post-colonial discourse.
The artists and their positions are not defensive, but rather offensive about contemporary socio-political issues and deal with seminal issues of the last four decades, e.g. science fiction, computer age, homosexuality-transsexuality-othersexuality, the wave of economic crisis across Africa in the late 80s and early 90s, the political wave of multi-partism in the 90s and the embracing of the post-Apatheid era, the migration movements towards the West, a re-birth of an African consciousness reflected in a renewed interest in pan- and trans-Africanism, the new economic boom across many African countries, the diasporic experience and beyond.
Funded by the TURN Fund of the German Federal Cultural Foundation and Ernst Schering Foundation
