This exhibition brings together three artists that were socialized as black, African women, and through their works, answer the curatorial prompt of assembling a collective step-by-step narrative that creates an opposing notion to Foucault’s concept of “docile bodies”, proposing an alternative vision of transcending corporalities.
The body is a vessel, a channel, a connector of worlds, and through it, the possibility of navigating a lived experience that is corporeal, earthly, and physical is materialized. At present, the human (bodily) experience is heavily influenced by the social construction and hierarchization of feminine and masculine categories, founded on biological attributes understood as female and male that dictate the different norms and disciplinary practices people are subject to, thus affecting their perception and relationship with self, and their understanding and relationship with the world.
Under the patriarchal ruling of discipline and surveillance, and driven by external validation people socialized as women are expected to understand and experience their bodies as to be consumed and enjoyed by others, for reproduction, pleasure, or even as a surface to be visually or aesthetically ornamented - which dictates how they use, present, and move their bodies. Additionally, people categorized, socialized, and valued as black and African experience this surveillance, discipline, and other impositions in a cumulative manner, which has further implications on their (dis)connection with themselves, and the world.
This exhibition invites its audience to recognize and challenge these mandates of discipline and surveillance and envision a bodily experience inspired by Anne Drapkin Lyerly's concepts of connection, agency, and dignity that encourages inner connection and transcends the imposed limitations.
Presented in successive order in four chapters (chapter 1: witness, chapter 2: uninhibit, chapter 3: reclaim, and chapter 4: transcend), the works in this exhibition offer to guide the audience thought the process of envisioning an uninhibited body, a body free to be.
Artwork above: Marilú Mapengo Námoda, Mom, I* am no longer Black05, Photography by: SPIELART FESTIVAL, all rights reserved to the artist, 2021,100 cm x 70 cm, Edition of 3, R 22,000.00 ex. VAT
Ana Yaki Machava, Look After You, 2020, Acrylic on softboard (unitex), 120 cm x 80 cm, R 33,000.00 ex. VAT
Carina Ubisse Capitine is a Mozambican artivist and communications professional that believes in the power of art to give voice to the realities of marginalized communities and foster meaningful positive social change. She describes her work as a transformative journey of self-reflection and expression, aiming to celebrate her pleasure and multiple identities; in resistance to the invisibilization and objectification to which she is hegemonically subject to as a woman. As a curator, she is interested in facilitating access to artists from under-represented communities, encouraging the ethical use of art to disrupt power imbalances and highlight and celebrate Afro-centric aesthetics. Her work was showcased in collective exhibitions at Centro Cultural Moçambicano-Alemão - CCMA and Associação Cultural Muenda, both in Maputo. With a Degree (Licenciatura) in Communication Sciences from Universidade Politécnica in Mozambique (2017), she completed her Master's in Communication and Development Studies from the University of Ohio, in the USA (2020), as a Fulbright Scholar.
Ana Yaki Machava, Look After you 2, 2020, Acrylic on softboard (unitex), 120 cm x 80 cm, R 33,000.00 ex. VAT
Pamina Sebastião, The des(appering) act02, Photography by: Kamy Lara, 2022, Photography, 70 cm x 100 cm, R 18,000.00 ex. VAT / 120 cm x 180 cm, R 37,500.00 ex. VAT, Edition Size: 3 copies available
Marilú Mapengo Námoda, Mom, I* am no longer Black01, Photography by: SPIELART FESTIVAL, all rights reserved to the artist, 2021, Photography, 120 cm x 189 cm, Edition of 3, R 44,000.00 ex. VAT
Marilú Mapengo Námoda_Mom, I* am no longer Black02, Photography by: SPIELART FESTIVAL, all rights reserved to the artist, 2021, Photography, 100 cm x 70 cm, Edition of 3, R 22,000.00 ex. VAT
Marilú Mapengo Námoda, What does silence pray for?, 2023, Installation: wood, straw, Terminalia catappa leaves, stuffed fish, glass, candles, and a glass bowl with water, 1 m x 2 m, R 33,000.00 ex. VAT
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