Bivouac #2 / Breathing Out of School, RAW Académie
FRIDAY 25 AND SATURDAY 26 SEPTEMBER 2020
Breathing Out of School, a program by RAW Material Company, revisits the possibility of a different schooling, in the company of former fellows and friends of its RAW Académie.
After four years of existence, the RAW Académie - RAW Material Company’s residential, experiential program for the research and study of artistic and curatorial practice and thought - has found itself put on pause in the year 2020. This gap year has imposed itself on us, powerless in the face of the measures put in place across the planet. And so here we are, driven to a period of reflection, to a moment where we can catch our breath. This program, Breathing Out of School, is conceived as a moment of convivial respite to dive back into two of the principal preoccupations that run through the seven Académie sessions which have already taken place; the possibility of learning differently, and the value of the pause, of the break. The work of former session participants will also be shown by way of a screening program and performances, and takes place on the occasion of the release of the eponymous publication.
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PROGRAM
Friday, September 25th
4pm - 6pm
Film screenings* of former RAW Académie Fellows :
Penelope, Noor Abed
DELIVERY, Freya Edmondes
Home, Naomi Lulendo
Highjacking Hindsight, Ash Moniz
El Retorno, Hira Nabi
..._..., Stefano Pelosato
Intimacy that daunted a silent pornography, Esther Poppe
NON AU FRANC CFA, Narcis Diaz Pujol
The Ghost of the University, Frida Robles
* More information about the projections at the bottom of this page
6pm - 8pm
A society without schools
With Patricia Falguières, Dominique Malaquais and Rasha Salti. Under the moderation of Dulcie Abrahams Atlass
This panel is about the notion of school and the different ways of thinking and breaking it up. The panelists’ reflections and proposals embrace the multiple modes of knowledge transmission that inspire the RAW Material Company and that push it to maintain a space of free exchange, the RAW Académie.
8:30pm - 9:30pm
P.O de Chagrin, performance by Naomi Lulendo, RAW Académie participant Session 5
The artist Naomi Lulendo challenges us in her performances to learn and rethink the world through games.
Saturday, September 26th
4pm - 6pm
Film screenings* of former RAW Académie Fellows :
The Angel, Azrail, Mustafa Boga
Borrowed Scenery, Shirin Sabahi
Rally, Felipe Steinberg
I’ll sing for you when you leave / hymns, Anna Tjé
Business as usual - hostile environment, Alberta Whittle
* More information about the projections at the bottom of this page
6pm - 8pm
Gap year
With Éric Baudelaire, Sandrine Honliasso, Khalil Joreige and Ariane Leblanc. Moderated by Fatima Bintou Rassoul Sy
This discussion will be an exchange about the need to take a break, to stop in a process in order to better understand it. Learning does not necessarily take place only during classes, but also during the break. What is the purpose of this break, and what can we learn from it during this year when a break, or even a break, has become necessary for many of us?
8.30pm - 9.30pm
Safou Lover , performance by Anna Tjé, RAW Académie participant Session 7
Inside the guts of Ngomboa, we could wander, stretch, regenerate ourselves. Full of strength, we had the power of her intuition. Enough to prepare her for what would happen beyond the seas, over there under the clear sky...
With Safou Lover , Anna Tjé continues to explore healing music through a performance where Safous/Bitotos (fruits widely cultivated in Cameroon) claim their narrative, their propagation, their own reparation.
Inspired by her research on so-called "exotic" fruits and on R&B Slow Jams, the artist tells the story of a character named Ngomboa by offering a vocal and poetic improvisation involving matrilineal stories and magic realism.
By eating these unmuzzled fruit-bodies, Anna Tjé uses her voice as sound material to experiment with notions of Queer Temporalities (E. Freeman) and the Power of the Erotic (A. Lorde), while exploring themes of migration, coming of age and twinning.
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RAW Material Company is a center for art, knowledge and society. It is an initiative involved with curatorial practice, artistic education, residencies, knowledge production, and archiving of theory and criticism on art. It works to foster appreciation and growth of artistic and intellectual creativity in Africa. The program is trans-disciplinary and is equally informed by literature, film, architecture, politics, fashion, cuisine and diaspora.
http://www.rawmaterialcompany.org/
Dulcie Abrahams Atlass
Dulcie Abrahams Altass is a curator and art historian. She was born in London and lives and works in Dakar, Senegal. She is a program curator at RAW Material Company in Dakar where she co-curated the exhibitions La révolution viendra sous une forme non-encore imaginable (2018), Toutes les fautes qu’il y avait dans le monde, je les ai ramassées (2018) and PO4 (Blackout) (2019). Some recent projects at RAW Material Company include Kan jaa ta: Basculer de l’ombre à la lumière (Bamako’s meetings, 2019) and États des lieux 4: Sortir du rang; Collectifs artistiques et parallélisme translocal (Dhaka Art Summit, 2020). Her work in Senegal also includes research on themes as various as country’s performance art and the interaction between hip hop and contemporary art. She is the author of several texts about Senegalese artists and was a member of the artists’ collective Les Petites Pierres.
Éric Baudelaire
Éric Baudelaire (1973) is an artist and filmmaker based in Paris. After studying political science, he developed an artistic practice focused on research work including photography, printmaking and video. Since 2010, cinema has become central to his work. His feature films Also Known as Jihadi (2017), Lettres à Max (2014), The Ugly One (2013) and L’Anabase de May et Fusako Shigenobu, MasaoAdachi, et 27 années sans images (2011) were programmed at festivals in Locarno, Toronto, New York, at FID Marseille and in Rotterdam. During the exhibitions, Éric Baudelaire incorporates his films into installations that include other works, performances, publications and public programming, such as APRÈS project at the Centre Pompidou (2017) and The Secession Sessions which started at Bétonsalon in Paris, then at the Bergen Kunsthall and the Sharjah Biennial 12. His most recent personal exhibitions took place at the Witte de With in Rotterdam, the Fridericianum in Kassel, the Beirut Art Center in Gasworks – London - and the Hammer Museum in Los Angeles. His work appears in the collections of the Reina Sofia Museum in Madrid, at the MACBA in Barcelona, at the MoMA in New York, at the Centre Pompidou in Paris and at the M+ in Hong Kong.
Patricia Falguières
Patricia Falguières is Professor at the School for Advanced Studies in Social Sciences (EHESS) in Paris. She has published numerous essays on Renaissance philosophy and art, classifications, indexes and the birth of the museum in modern Europe. She is also active in the field of contemporary art through monographic studies (Abraham Cruzvillegas, Julie Ault, Danh Vo, Fiona Tan, Mona Hatoum, Gabriel Orozco, Haegue Yang, Lamia Joreige…), articles and essays (about conceptual art and the relationship between art and theater in the 20th century…). She handled the critical edition of the Brian O’Doherty classic, Inside the White Cube (2008). Patricia Falguières leads various programs in history and research in art theory. She initiated the serie Lectures Maison Rouge at La Maison Rouge (Paris) and co-leads Something you Should Know seminars at EHESS with Élisabeth Lebovici and Nataša Petrešin-Bachelez. In 2011, the Centre Pompidou organized a lectures and meetings program on the perspectives of art history and criticism named according to Patricia Falguières. She lives and works in Paris.
Joana Hadjithomas and Khalil Joreige
The Lebanese filmmakers and artists Joana Hadjithomas and Khalil Joreige interweave thematic, conceptual and formal links through photographs, video installations, fictional films and documentaries. Self-taught, they became filmmakers and artists through necessity in the wake of the Lebanese civil wars and consider themselves as researchers. Their very personal oeuvre, based on their various encounters, has led them to explore the realm of the visible and of absence, leading to a back-and-forth between life and fiction. For more than fifteen years, their films and artworks, created using personal and political documents, develop narratives out of stories kept secret in the face of the prevailing history such as the missing people from the Lebanese civil war, a forgotten space project, geological and archaeological cores, or the strange consequences of Internet scams and spams.
Joana Hadjithomas and Khalil Joreige’s work is constructed around the production of types of knowledge, the rewriting of history and construction of imaginaries. They draw on their experience of their own country while going beyond its frontiers.
Their films have been shown and multi awarded in major international festivals and their artworks exhibited in museums and art centers around the world, most recently the Centre Pompidou, Jeu de Paume and Musée d’Art Moderne in Paris; the Victoria & Albert Museum, British Museum and Whitechapel Gallery in London; Haus der Kunst in Munich, IVAM in Spain, the Guggenheim in New York; SF Moma; MIT Boston, the Sharjah Art Foundation and Home Works Forum Beirut, as well as many biennales including Istanbul, Lyon, Sharjah, Kochi, Gwangju, Yinchuan, and Venice. They have also received many international awards as the Abraaj prize and the Marcel Duchamp award in 2017.
Sandrine Honliasso
Sandrine Honliasso is an independent curator and critic. She worked as a production and mediation assistant at the Fondation Kadist (Paris) and as head of communication at the Institut d’art contemporain/Villeurbanne. She is the author of “Monologues”, a digital space dedicated to current artist creation. She was co-curator of the exhibitions Partout, mais pas pour très longtemps (2018, Lyon); Germination (2018, Dakar); Tongue on tongue, nos salives dans ton oreille (2019, Paris) and curator of the exhibition Baptiste Fertillet, Cutting/Slasher (2020, Nantes). She was twice a resident of the RAW Académie research program (Germination, 2018; CURA 2019) at the RAW Material Company art centre (Dakar). She is currently collaborating with Ariane Leblanc on the exhibition D’ailleurs je viens d’ici that will be presented in Spring 2021 at the Comédie de Caen.
Ariane Leblanc
Ariane Leblanc was born in 1993 in Paris. She lives and works in Paris.
She studied cultural mediation at The University of Paris I, where she focused more particularly on multiculturalism in the post-colonial era through research work conducted collectively. In addition to her concrete implication in alternative environments through the artistic directorship of the Rue des Miracles group, she also developed a deep interest in the role of public spaces in contemporary urban production. Since 2015, she works at the Laboratoires d’Aubervilliers, first as an intern and, in 2016, as coordinator of La Semeuse project that connects environmental and territorial issues through an artistic perspective. She collaborates on the research of the artist Uriel Orlow, whose practice privileges processes of pluridisciplinarity. In November 2018, she participated at the RAW Material Company Académie program, directed by artist and performer Otobong Nkanga. In 2019, she realized the exhibition Pour un interstice paysager with the artist Pierre Simon at the Comédie de Caen.
Naomi Lulendo
Naomi Lulendo was born in 1994, in Paris. In her multi-disciplinary practice between painting, sculpture, performance, photography and installation, Naomi Lulendo creates plastic proposals that confound and reinvent our relationship to the spaces - including the body as an intimate space - that we inhabit. Using the concept of "play" as a tool for shaping and creating hybrid objects, images and texts, Naomi Lulendo observes in her approach personal and collective, social and political implications of human mobility and the meeting of cultures. By exploring the process of identity construction, making sometimes an analogy between body, language and architecture, her work draw as much from her personal biography as from an attention to the polysemy of bodies, forms, motifs and objects as well as their symbolic potentiality. Through language games and gymnastics of references, Naomi Lulendo probes the notion of "pattern" and its relationship with body and space. Creating a parallel between the body-surface and geographical space, the "alternative" appears in the artist’s work as a way of being and " being experienced " and is manifested in her exploration of how the mobility of individuals - voluntary or forced, historical and modern - shapes our imaginations. Naomi Lulendo is graduate of the École Nationale Supérieure des Beaux-Arts de Paris. In 2018, she participated in the RAW Académie research seminar under the direction of the artist Otobong Nkanga in Dakar. Her work has been shown at the Galerie Allen, Paris (2019); the 13th edition of the Biennale d’art contemporain, Dakar (2018) and the Galleria Continua, Boissy le Châtel (2016).
Dominique Malaquais
Dominique Malaquais conducts research at the CNRS (African Worlds Institute, Paris) and she co-directs - with Kadiatou Diallo – the experimental and curatorial platform SPARCK (Space for Pan-African Research, Creation and Knowledge). She is interested in the intersections between political violence, economic inequalities and the elaboration of urban cultures in the capitalocene era. Among her recent and ongoing projects, she published in Critiques, Multitudes and African Arts, has developed with Julie Peghini - an anthropologist and filmmaker - Yif Menga, a multi-position research program around performance as a political project (collaboration with Récréâtrales festival in Ouagadougou), Ce dont nous sommes faits, a medium-length film by Julie, Dominique and Elise Villatte, Dialogues Afriques, a seminar conducted with Sarah Fila-Bakabadio and Christine Douxami (EHESS/Cité international des arts), Afriques: Utopies urbaines, prophétiques, performatives - with Julie and deeply inspired by the work of the writer and poet Sony Labou Tansi – a series of meetings-performances at the Cité de l’architecture et du patrimoine, the Haute école des arts du Rhin and the Cité international des arts; she was co-curator of Kinshasa Chroniques exhibition at the Cité de l’architecture (14th October 2020 – 11th January 2021) in collaboration with Erica Androa Mindre Kolo, Mega Mingiedi, Fiona Meadows, Sébastien Godret, Claude Allemand, Jean-Christophe Lanquetin. Dominique Malaquais is a member of the editorial board of several journals, as Chimurenga and Savvy, for example. She is Past President of ACASA (Arts Council of the African Studies Association).
Rasha Salti
Rasha Salti is a researcher, writer and an art and film exhibition curator. She lives and works between Berlin and Beirut.
Fatima Bintou Rassoul Sy
Fatima Bintou Rassoul Sy was born and raised in Dakar. She moved to Paris in 2006 to study plastic arts at the University Paris 1 (Panthéon Sorbonne). After obtaining her degree, she continued her studies in Arts and Culture and took part in cultural mediation activities at the Musée du Louvre, the Musée Rodin and the Grand Palais. With these experiences, she joined the Semiose gallery and then the Magnin-A gallery, in which she became increasingly interested in contemporary African creation and its multiple historicities. This encouraged her to pursue a Master’s degree in Science and Technology of Exhibition at Paris 1. This will initiate the organization of conferences such as: IN/ EXcludere: La représentation et ses enjeux, a meeting around the work of Mohamed Bourouissa, at the Palais de Tokyo, Paris; Dans la tête de... Anne Brégeaut at La Maison rouge - Fondation Antoine de Galbert, Paris. She was co-curator of the exhibition Plus un geste at the Galerie Michel Journiac, Paris. In May 2014, she participated as a curatorial assistant in the 11th edition of Dak’Art, where she worked with Mr. Massamba Mbaye on the exhibition: Cultural Diversity at the Musée Théodore Monod d’Art Africain, Dakar. She joined the teams of Marianne International, for which she worked for the Fondation Louis Vuitton for three years. She returned to Dakar in May 2018 and worked at the Musée des Civilisations Noires as a curatorial assistant on the inaugural exhibition: Civilisations africaines: création continue de l’humanité and then became head of the Mediation and Cultural Animation Department. She recently produced a series of interviews for the magazine Something We Africans Got #10 and the SWAG high profile magazines #2 and #3. She is now program commissioner for #RAWFamily.
Anna Tjé
Born in 1989, Anna Tjé lives and works in Paris. Through a transdisciplinary practice at the intersection of video, performance, installation and sculpture, Anna Tjé aims to deconstruct the mechanisms of survival and healing in so-called subcultures.
Navigating through research and contemporary creation, she uses the moving image, the poetic narrative, sound and music, gesture as well as archival conversations, textiles and vegetables and fruit material to explore notions of intimacy, trauma and the resilience of the body and experiences of black women*. Anna Tjé thus creates immersive spaces that interrogate the social constructions of space and of past-present-future time in relation to diverse forms of queer eroticism and familial stories and ties. By drawing on her personal archives and on the journeys of militant feminist and/or queer artists from the African diaspora, she uses memory, utopia, science fiction and spirituality as vehicles of emancipation and communication.
Anna Tjé studied textile creation and fashion design at Mod’art International in Paris before exploring other medias. After graduating with a Master’s in Communication and Publishing, she further developed her research and practice in the doctoral program in arts and media in the department of performance and theatre at the New Sorbonne University in Paris. Co-founder and artistic director of Atayé, a literary and artistic journal and platform, Anna Tjé also organizes artistic gatherings and conducts early learning and creative writing workshops. She has been selected as a PhD. candidate to the PhD. in Practice at the Academy of Fine Arts of Vienna, Austria (starting in October 2020).
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Friday, September 25th (duration: 1:29:07)
Penelope, Noor Abed
6min30, silent, 16mm film (Palestine, 2014)
Inspired by the Odyssey, based on Homer’s epic poem from Greek Mythology, this work is based on the concept of myth; its position in history and relation to the present and the imaginary. The continuous presence of the female figure, as a representation of Penelope, unfolds the absence of the hero figure. Through the act of sewing, she is returning to a past memory simultaneously. The past is activated in the imagination, reinforcing through movement its dislocation from its original site. The work attempts to reflect a reality other than the one history offers. Here, myth could be seen as a collective dream and public imagination.
DELIVERY, Freya Edmondes
12min30, created in collaboration with Daniel Blumberg, as part of Home cooking’s live stream series.
This work illustrates the conflation of raw experience and tendency to project virtually contracted gaming and marketing strategies onto interpretation of public interflow. The unconscious infiltration of task oriented thought patterns can be seen in the video, echoes of the game re-occur, affecting, even supplementing, the performance of the task at hand. Delivery service.
The task achievers are lost in the loop purpose ‘Delivery!’, a self made theme tune, also implying the enjoyable conversion of labor into game. They smile, and are not phased by the silent scream of the huge carcass strapped to their vehicle, this visually discordant concoction symbolic of the tyrannic inequity of utilitarian global commerce. The core horror is not a threat, is irrelevant to the prioritised task at hand. Practical apathy is employed. Reflective responsibility relinquishes itself. Ideology acts like bacteria within the layers of subjectivity. The screaming fish is the elephant in the room, strapped to the unstoppable motor of depoliticised goal oriented mechanism.
Hom̐e, Naomi Lulendo
5min55
Through the motif of the sea (la mer) and its language, a silent narration takes place on mourning and memory. The mother (la mère) is gone, only the sea remains. And the bitter (l’amer) sensation that the return will not happen anymore. Yet the waves and their undertow rock, as if to carry this contemplative meditation which emerges from the emptiness after the loss. Hom̐e initiates the beginning of the gestation of a body and his return to the mother island, which tries to reveal its sorrow at a time when the noise of the world is too heavy.
Highjacking Hindsight, Ash Moniz
15min30, 2020
A paper company that produces fake snow also supplies the insurance documents that drove a man to set his own ship on fire. Rummaging between essay-fiction and performance, Hijacking Hindsight (2020) is a film that sets into motion a chain of relations between the legal/temporal apparatuses that sculpt logistical geographies. Demagnetized from site-specificity, this work stages how a trade route can define its locality by the route that it is not. Documents of risk, on board a cargo-ship passing through the Red Sea, encounter a performative event taking place in the middle of a vast frozen body of water. Through an abstract interweaving of instruments and instances, it entangles how historical conceptualizations of lost-time shaped risk aversion’s role within environmental loss.
El Retorno, Hira Nabi
12min3, made during the ’Filming in Cuba with Abbas Kiarostami’ workshop in Jan-Feb 2016
A taxi driver agrees to drive a stranger around a town the man has never visited. Their short journey gives the man a new destination.
..._..., Stefano Pelosato
8min51
Interdependence between living beings (Archaea, Bacteria, Eukarya); ecoerotism and biocentrism; an interrupted radio communication in a space of imprisonment.
Intimacy that daunted a silent pornography, Esther Poppe
13min56
The time that frames this experience, our ability to keep focus, governments, keeping everybody confused, being stationary and sequestered. We are living in multiple windows, in bits and pieces, in fragmented exhaustion, with attention spans shorter than ever dwelling in online viewing rooms. Celebrating heterotopianism and polyphony at the same time conscience fragility, civic values and treasure houses. It’s an intimacy that is daunted a silent pornography.
Visual rumbling at the speed waiting for the second to come. Let it run in the idle speed of what commitment was. Neck. Feet. Knees. And in the corner of the eye, mazy clipping licking the void.
On Soundplanes the fabric tears, troubled, encounterless. The wave of images breaks and leaves behind nothing but screen black. The artistic idea, which touches its own self without any aim, is dominated by the political. What happened took me by surprise. Immunity and vulnerability, resistance and danger of random opacity became more than ambiguous for there´s no sequence and no order. What live moments are allowed: in nature, on the street, in the bedroom, in front of the screen?
NON AU FRANC CFA, Narcis Diaz Pujol
7min24
This video shows Guy Marius Sagna, an anti-colonial activist from Dakar, speaking about the West African Franc (FCFA). In parallel, we see extracts of videos from the internet pertaining to the burning of a 5000 FCFA note by Kémi Séba in 2017, an act which led to his arrest and consequent expulsion from Senegal.
This piece is part of a series of videos called La Place de l’Europe collected from the site laplacedeleurope.eu, which takes its name from a public square on Gorée Island, a former site of the slave trade which today - according to UNESCO - is a sanctuary of reconciliation (in June 2020, the square was renamed Place de la Liberté et de la Dignité humaine thanks to social pressure). On this website, it is possible to view and listen to members of associations for repatriates and migrants, social workers, activists and spiritual guides from the Dakar region speaking from different perspectives on the relationships between the European Union - notably Spain - and West African countries, notably Senegal.
The Ghost of the University, Frida Robles
6min, Performer: Momo Fall, Editor: Ujjwal Utkarsh
The first time I went to Dakar was to attend the first session of the RAW Académie in 2016. Luckily enough I arrived at a house located inside the campus of the Cheikh Anta Diop University, the UCAD. I remember how much I was in awe at the beauty of that place. My morning walks from the university to RAW became a sort of magical time, and the university turned into a quasi obsession which I tried to shift into an artistic pursuit. This video is one of those failed attempts to capture just fragments of the poetic character of the UCAD campus.
Saturday, September 26th
The Angel, Azrael, Mustafa Boga
37min25, A collaborative project written and produced by Mustafa Boğa with contributions from 35 artists
The Angel, Azrael is a film project made from the contributions of 35 women who interpreted poems written by Mustafa Boga. Based on the poems, the creators were asked to make films of around a minute long by using any type of film medium they preferred, including performances, short films, animation and music videos. The poems depict the moment when Azrael is on earth to take the life of those who are dying.
Through the films, we travel all around the world from a city time-lapse in Tehran to a little boat on the River Nile. We meet people from Italy, the UK, the USA and Turkey and we hear French, Spanish, German, Icelandic, Arabic, Greek and Danish. They dance, perform, cry, swim and animate. Songs were made from the poems, conversations were created, and through this collected experience we enter a world where death is a tangent to life.
Uku Hlamba, Mbali Dhlamini
4min32
This performance is part of a series of events that have passed and are yet to occur;
“The spirit, breath or air….
Umoya is the ritual force of the body…
this spirit…
also gives strength…
to take air…
the umoya…
To take strength..”*
*Absolom Vilakazi, Zulu transformations: A study of the dynamics of social change, 1962.
Borrowed Scenery, Shirin Sabahi
15min
Borrowed Scenery (借景 shakkei) is the East Asian principle of integrating the surrounding landscape into the composition of a garden. Since 1970s artist Noriyuki Haraguchi (b. 1946—2020) has made a series of in-situ sculptures that aim at acquiring meaning through their thoughtful placement in their surroundings. In 1977 Haraguchi was invited to permanently install an iteration of his sculpture Matter and Mind (Oil Pool) at the atrium of the Tehran Museum of Contemporary Art. Matter and Mind is a rectangular steel basin filled with highly reflective used engine oil. Regardless of the artist’s intentions and those of the host museum, the visitors have over the years turned this sculpture into a container for smaller objects by throwing coins and other objects into it.
The film is an artist portrait of Noriyuki Haraguchi, who is aurally present throughout the film yet rarely seen. It follows the genesis of Haraguchi’s oil pool sculptures, his use of ephemeral and industrial materials, the interactions with his oil pools in Tehran and elsewhere and the proximities of art to religion and other belief systems.
Rally, Felipe Steinberg
12min30
Rally is a work in progress on the relationship between different types of colonial and post-colonial infrastructures, such as public broadcasting, urban planning, and certain events; from the Paris Dakar race to recent protests in Dakar. The work explores the nature of the ‘now’ time: the relation or non-relation in between the pure evental exteriority and the field of images.
I’ll sing for you when you leave / hymns, Anna Tjé
3min
In August 2014, I went to Cameroon to bury a member of my family in my mother’s native village.
I decided to document this mourning, from Ngobilo to Bimbia, where the remains of an old slave port reside (a determining site in the Cameroonian history of the slave trade).
By filming my wanderings in the forest - where my ancestors are buried - the waterfalls and the beaches bordering the Atlantic, as well as the choir of the village singing ’Ligwe Li Yesu / Malo ma Bakeke’ (translated from the Bassa language by ’The Birth of Jesus / The arrival of the Three Kings’), I noted the funeral rites and wondered about my position and my experiences during this period of mourning.
By finding these images again and editing them during confinement, alone in the midst of a social and health crisis, I began to put words and thoughts to these landscapes.
I began to tell of a funeral march made of burial and the absence of burials, made of aquamations, made of cuts... made of singing ancestors in the forms of trees and regenerating waters.
Business as usual - hostile environment, Alberta Whittle
16min04
With the horrors of covid-19 overshadowing the everyday, this chapter forms part of Alberta Whittle’s wider commission for Glasgow Sculpture Studios and Glasgow International that has been developed to reflect the immediacy of our times. But most of all, it is an offering and a gesture towards remaining soft in spite of the overwhelming hostile environment.
This program is part of the Académie de Bétonsalon supported by the Daniel and Nina Carasso Foundation.
Images
Talk about " A society without school " with Patricia Falguières, Rasha Salti, Koyo Kouoh and Dulcie Abrahams Atlass, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 25th, 2020.
Talk about " A society without school " with Patricia Falguières, Rasha Salti, Koyo Kouoh and Dulcie Abrahams Atlass, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 25th, 2020.
Conversations on the need to take a break, "Gap Year" with Éric Baudelaire, Sandrine Honliasso, Khalil Joreige, Ariane Leblanc and Fatima Bintou Rassoul Sy, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 26th, 2020.
Conversations on the need to take a break, "Gap Year" with Éric Baudelaire, Sandrine Honliasso, Khalil Joreige, Ariane Leblanc and Fatima Bintou Rassoul Sy, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 26th, 2020.
Film screenings of former RAW Académie Fellows : Noor Abed, Freya Emondes, Ash Moniz, Hira Nabi, Stefano Pelosato, Esther Poppe, Narcis Dias Pujol, Frida Robles, Naomi Lulendo, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 25th, 2020.
Film screenings of former RAW Académie Fellows : Mustafa Boga, Shirin Sabahi, Felipe Steinberg, Anna Tjé, Alberta Whittle, RAW Académie, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 26th, 2020.
P.O de Chagrin, performance by Naomi Lulendo, artist and former RAW Académie participant, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 25th, 2020.
Safou lover, performance by Anna Tjé, artist and former RAW Académie participant, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 26th, 2020.
Safou lover, performance by Anna Tjé, artist and former RAW Académie participant, Breathing out of school, Bivouac #2, Bétonsalon - Center for Art and Research, Paris, September 26th, 2020.
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