“The pressure is for you to make yourself available/visible but in that process you become static…fixed… it means you stand in one place in a way that is so tangible that you can easily be bypassed or placed … as opposed to being as mobile as you always have been. It’s a tricky thing. People are saying to you – I want to see you, but this is the lens I have. And then you say: that’s your lens, I don’t know what I have to be to be seen… but I think I want to go there.”
In a country like Suriname with a population of half a million people everybody knows each other. Because of the political nature of his work, Kurt feels inhibited. This self-consciousness is something he is letting go of, more and more. He used to think all the time about what his parents would say or think. “I think less and less each day about other people’s opinions about my work. I try not to think about my close environment. In a way the word ‘DADA’ is a sacred word and it enables me to feel unlimited freedom and space in which I can create.”
Kurt Nahar in an interview with Marieke Visser.
Viva la Vida Dada, 2013/2014.
He makes new works with things he can put his hands on while he is there, works that were standing in one show are hanging from the ceiling in the next one, stones he gave a bright color in a narrow street in Siena are transformed into a pile of colored stones in London. He is not only recycling objects, fabrics, things, he also recycles his own works. So, working with Tayou will definitely be very inspiring, but it also is a challenge.
Rob Perrée on Pascale Marthine Tayou.
Photo: Ben Pruchnie, Getty Images.
For both John Kamicha and Shabu Mwangi art is their way of reaching out to their fellow Kenyans and challenging them to reflect on the contradictions and opportunities of modern life in Nairobi. John Kamicha: “That’s what art is about for me: questioning things, not about adopting a style and selling beautiful images of wild animals to tourists, hotels and expats. I want to wake people up. Why keep quiet and pretend and act ignorantly? ”
Rosalie van Deursen on Kenyan artists John Kamicha and Shabu Mwangi.
Shuba Mwangi, My Dream.
“Pangaea II draws on works from two vast continents tormented by their own grievances. Sculptural and two-dimensional, that when juxtaposed boil down to the visual exuberance of Latin American, that sugar-coat the causal effects of colonialism, consumerism, and political and social unrest, with unbridled adolescence. And more significantly the constellation of countries in Africa, from where art appears to function as a placebo for the chronic ills of a continent damaged by civil war, starvation, and slavery. All of which makes for a show that is as much about what is behind the curtain, as what is visually present.”
Rajesh Punj on ‘Pangaea II’ in the Saatchi Gallery in London.
Eddy llunga Kamuanga, Elongated Head, 2014.
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