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Gottfried
Gefühle, 2014 
Mixed Media - Acrylic And Pen On Canvas
30cm x 29cm

Gottfried

Gefühle, 2014 

Mixed Media - Acrylic And Pen On Canvas

30cm x 29cm

Annabel Guérédrat

Martinique performance artist who deals with questions the mythological aspects of identity as a mixed-race black woman. Along the way she creates her own identity: a hybrid identity, without frontiers or any categorisation of gender or race.

Otobong Nkanga
Limits of Mapping, 2010
Nigerian artist Otobong Nkanga works in a broad spectrum of media, including performance, installations, photography, drawing and sculpture. According to Nkanga, the various media she employs “interrogate our mental and physical identities in varied environments and contexts.”

Otobong Nkanga

Limits of Mapping, 2010

Nigerian artist Otobong Nkanga works in a broad spectrum of media, including performance, installations, photography, drawing and sculpture. According to Nkanga, the various media she employs “interrogate our mental and physical identities in varied environments and contexts.”

Ibrahim Mahama
Untitled, 2013
Draped jute sacks wall installation, Dimensions variable
Ibrahim Mahama’s incredible installations of sewn coal sacks narrate his study of the conditions of supply and demand in African markets. The final product is equally displayed in market places thus challenging the artifacts’ intrinsic value system, enducing the re-evaluation of material.

Ibrahim Mahama

Untitled, 2013

Draped jute sacks wall installation, Dimensions variable

Ibrahim Mahama’s incredible installations of sewn coal sacks narrate his study of the conditions of supply and demand in African markets. The final product is equally displayed in market places thus challenging the artifacts’ intrinsic value system, enducing the re-evaluation of material.

Miriam Syowia Kyambi
WoMen, Fraulein, Damsel & Me, 2008 
Installation/performance relating to domestic violence.
In the work the artist explores her personal history intertwined with Kenya’s colonial past.
The first phase being both an installation with a private performance titled Engaging Entrapment, at the Goethe Institute Nairobi and a last phase, the performance Release performed at Bofa Beach, Kilifi. Both the phases are documented in photo and video material.

Miriam Syowia Kyambi

WoMen, Fraulein, Damsel & Me, 2008 

Installation/performance relating to domestic violence.

In the work the artist explores her personal history intertwined with Kenya’s colonial past.

The first phase being both an installation with a private performance titled Engaging Entrapment, at the Goethe Institute Nairobi and a last phase, the performance Release performed at Bofa Beach, Kilifi. Both the phases are documented in photo and video material.

Meschac Gaba
Architectural wigs, 2007-08
The artist who has investigated constructions of cultural identity along with systems of trade as they relate to exchanges between Africa and the Western world. He will be part of a pannel during Frieze at 1:54 taking place in Somerset House in London, discussing African art.

Meschac Gaba

Architectural wigs, 2007-08

The artist who has investigated constructions of cultural identity along with systems of trade as they relate to exchanges between Africa and the Western world. He will be part of a pannel during Frieze at 1:54 taking place in Somerset House in London, discussing African art.

Mélanie Matranga (b.1985)

Trailer of a video art project.

Matranga, the winner of The Frieze Award 2014 will create a series of online videos that follow a young artistic couple as they negotiate ‘freedom, success and the proper functioning of a couple.’ The episodes will be filmed during the construction of Frieze London in Regent’s Park, including a purpose-built café, which Matranga has designed for use by visitors. The narrative structure of the video will focus on the simultaneous building of both the couple’s relationship and the set of the café itself. By bringing together these two storylines, the project will look at the confluence of emotional and monetary trade economies. Each three- to five-minute episode will be co-directed by Valentin Bouré and broadcast online.

Fernando Pareja & Leidy Chavez

Fernando Pareja & Leidy Chavez

Julieta Aranda
It will, it will. I’ve guaranteed it. 2014.  Giclée impression on fibaprint, 50 x 40 cm.
www.galeriaomr.comFacebook
Picture this: You are in a museum, in Genoa. On the top floor, in a room that is normally kept locked, there is a small community of 23 heads. A potentially thinking collectivity, missing its body. I don’t know who they are, but the room is a homage to decapitation. A memorial to the separation between thought and a possibility of action. 1.- At what precise moment does an individual stop being who he thinks he is?  If you cut off my arm, I say “me and my arm.” You cut off my other arm, I say “me and my two arms.” Take out my stomach, my kidneys—assuming that were possible—and I say “me and my intestines.” And now, if you cut off my head, what would I say? “Me and my head” or “me and my body”? What right has my head to call itself me? What right? 2.- Headless or bodiless, but not unborn. An insufficiency of being.3.- The hangman’s knot or hangman’s noose (also known as a collar during the Elizabethan era) is a well-known knot usually associated with its use in hanging a person. For a hanging, the knot of the rope is typically placed under or just behind the left ear. When the condemned drops to the end of the rope, the force is supposed to break the neck. The knot often has 13 coils.4.- Newspaper:  France: May ‘68—Students and workers’ revolt shakes the world   In the year 1968, with a synchronicity previously unheard of in human history, we can see great masses of people all over the world—workers and students—fighting against both the capitalist moloch and the authoritarianism of the socialist world. —That is a long time ago, isn’t it? This is the 21st century, so now what?5.- I don’t want to be a cultural worker. I don’t want to be a worker. I don’t want to work. A world has to be possible some other way. A world is made of bodies that are together with other bodies. A gravitational pull; strings of obligation and desire. “put your neck on the line”6.- If a body meet a bodyComin thro’ the rye,If a body kiss a body,Need a body cry?7.- I wash my hands of this matter. I have other things to think about. Someone else will do the rest. But what is the rest? Where is my body? Where is my headache? Where are my sore muscles, and my ingrown nails? And I wonder if me and my body can recognize each other.8.- In the last 10 years, as a corollary to the entrenched drug-wars, hundreds of beheaded bodies have been found throughout Mexico. How do we treat ourselves as bodies? Empty shells, containers without value.  A fertility-industrial complex has been created to cater to millions of infertile women. Even though the cost to the intended parent(s), including medical and legal bills, runs from 40,000 to 120,000 USD, the demand for qualified surrogates is well ahead of supply. The surrogate herself typically is paid 20,000 to 25,000 USD in the U.S., which averages approximately 3.00 USD per hour for each hour she is pregnant, based on a pregnancy of 266 days or 6,384 hours. 9.- LADY MACBETH: Wash your hands, put on your nightgown; look not so pale.—I tell you yet again, Banquo’s buried; he cannot come out on’s grave. 10.- The Blemmyes (Latin Blemmyae) were a genuine historical tribe, which became fictionalized as a race of creatures believed to be acephalous (headless) monsters who had eyes and mouths on their chest. Pliny the Elder writes of them that Blemmyes traduntur capita abesse, ore et oculis pectore adfixis (“It is said that the Blemmyes have no heads, and that their mouth and eyes are put in their chests”). The Blemmyes were said to live in Africa, in Nubia, Kush, or Ethiopia, generally south of Egypt.  Blemmyae found resurgent fame in early English colonialism. Sir Walter Raleigh came back from his travels among the Amazonian tribes describing the “savages” to his peers as having their eyes in their shoulders, and their mouths in the middle of their breasts.11.- …I do not find The Hanged Man. Fear death by water. Klaus Störtebeker (1400)—Beheaded for being a pirate in Hamburg; Jean-François de la Barre (1766)—Beheaded and burnt in Abbeville for blasphemy; John the Baptist (in the Gospels)—Beheaded by order of Herod Antipas; Antoine Lavoisier (1794)—the “Father of Modern Chemistry,” guillotined for treason; André Chénier (1794)—Poet, guillotined on trumped-up charges; Lucius Appuleius Saturninus (100 BC)—Radical tribune, Gaius Rabirius toyed with his severed head at a dinner party; Boris Sagal (1981)—Decapitated by helicopter….

Julieta Aranda

It will, it will. I’ve guaranteed it. 2014.  Giclée impression on fibaprint, 50 x 40 cm.

www.galeriaomr.com
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Picture this:
You are in a museum, in Genoa. On the top floor, in a room that is normally kept locked, there is a small community of 23 heads. A potentially thinking collectivity, missing its body.

I don’t know who they are, but the room is a homage to decapitation. A memorial to the separation between thought and a possibility of action.


1.- At what precise moment does an individual stop being who he thinks he is?

If you cut off my arm, I say “me and my arm.” You cut off my other arm, I say “me and my two arms.” Take out my stomach, my kidneys—assuming that were possible—and I say “me and my intestines.” And now, if you cut off my head, what would I say? “Me and my head” or “me and my body”? What right has my head to call itself me? What right? 


2.- Headless or bodiless, but not unborn. An insufficiency of being.


3.- The hangman’s knot or hangman’s noose (also known as a collar during the Elizabethan era) is a well-known knot usually associated with its use in hanging a person. For a hanging, the knot of the rope is typically placed under or just behind the left ear. When the condemned drops to the end of the rope, the force is supposed to break the neck. The knot often has 13 coils.


4.- Newspaper France: May ‘68—Students and workers’ revolt shakes the world

In the year 1968, with a synchronicity previously unheard of in human history, we can see great masses of people all over the world—workers and students—fighting against both the capitalist moloch and the authoritarianism of the socialist world.

—That is a long time ago, isn’t it? This is the 21st century, so now what?


5.- I don’t want to be a cultural worker. I don’t want to be a worker. I don’t want to work. A world has to be possible some other way.

A world is made of bodies that are together with other bodies. A gravitational pull; strings of obligation and desire.

“put your neck on the line”


6.- If a body meet a body
Comin thro’ the rye,
If a body kiss a body,
Need a body cry?


7.- I wash my hands of this matter. I have other things to think about. Someone else will do the rest. But what is the rest? Where is my body? Where is my headache? Where are my sore muscles, and my ingrown nails? And I wonder if me and my body can recognize each other.


8.- In the last 10 years, as a corollary to the entrenched drug-wars, hundreds of beheaded bodies have been found throughout Mexico.

How do we treat ourselves as bodies?
Empty shells, containers without value.

A fertility-industrial complex has been created to cater to millions of infertile women. Even though the cost to the intended parent(s), including medical and legal bills, runs from 40,000 to 120,000 USD, the demand for qualified surrogates is well ahead of supply. The surrogate herself typically is paid 20,000 to 25,000 USD in the U.S., which averages approximately 3.00 USD per hour for each hour she is pregnant, based on a pregnancy of 266 days or 6,384 hours.


9.- LADY MACBETH:
Wash your hands, put on your nightgown;
look not so pale.—I tell you yet again, Banquo’s
buried; he cannot come out on’s grave.


10.- The Blemmyes (Latin Blemmyae) were a genuine historical tribe, which became fictionalized as a race of creatures believed to be acephalous (headless) monsters who had eyes and mouths on their chest. Pliny the Elder writes of them that Blemmyes traduntur capita abesse, ore et oculis pectore adfixis (“It is said that the Blemmyes have no heads, and that their mouth and eyes are put in their chests”). The Blemmyes were said to live in Africa, in Nubia, Kush, or Ethiopia, generally south of Egypt.

Blemmyae found resurgent fame in early English colonialism. Sir Walter Raleigh came back from his travels among the Amazonian tribes describing the “savages” to his peers as having their eyes in their shoulders, and their mouths in the middle of their breasts.


11.- …I do not find The Hanged Man. Fear death by water.

Klaus Störtebeker (1400)—Beheaded for being a pirate in Hamburg; Jean-François de la Barre (1766)—Beheaded and burnt in Abbeville for blasphemy; John the Baptist (in the Gospels)—Beheaded by order of Herod Antipas; Antoine Lavoisier (1794)—the “Father of Modern Chemistry,” guillotined for treason; André Chénier (1794)—Poet, guillotined on trumped-up charges; Lucius Appuleius Saturninus (100 BC)—Radical tribune, Gaius Rabirius toyed with his severed head at a dinner party; Boris Sagal (1981)—Decapitated by helicopter….

Denise Kupferschmidt
Crude Idols
The artist plays in both painting and drawing with genderless forms that flirt with non figurative and human shapes. Trained in printmaking, it is clear to see the influence in her works for the cut out qualitities, which results in strong contrast and movement.

Denise Kupferschmidt

Crude Idols

The artist plays in both painting and drawing with genderless forms that flirt with non figurative and human shapes. Trained in printmaking, it is clear to see the influence in her works for the cut out qualitities, which results in strong contrast and movement.

THEME BY PARTI