Never Cross The Same River Twice
Chapter 4: The Sociality of New Performance and Film
October 9, 2023
6.00 pm to 9.00 pm：
Curator Talk by Kisito Assangni
Artist Talk by Oreet Ashery
Audience Q &A
October 10 2023
6.00 pm to 9.00 pm：
Live Performance by Egle Oddo
Artist Talk by Elena Tejada-Herrera
Audience Q &A
10-12 New Union Square, Nine Elms, London SW11 7AX
Troy House Art Foundation
About the Curator
Kisito Assangni is a Togolese-French curator who studied museology at Ecole du Louvre in Paris. Currently living between London, Paris and Togo, his research interests gravitate towards the cultural impact of globalisation, psychogeography, critical education, and archival systems. He inherently aims at going beyond the usual relations between artist, curator, institution, audience, and artwork in order to engage audiences in encounters with art that are unexpected, transformative, and fun.
His discursive public programs and exhibitions have been shown internationally, including the Venice Biennale, ZKM Museum, Karlsruhe; Whitechapel Gallery, London; Centre of Contemporary Art, Glasgow; Museum of Contemporary Art, Sydney; Malmo Konsthall, Sweden; Torrance Art Museum, Los Angeles; National Centre for Contemporary Arts, Moscow; HANGAR Centre of Contemporary Art, Lisbon among others.
Assangni has participated in talks, seminars, and symposia at numerous institutions such as the British Museum, London; Palais de Tokyo, Paris; Ben Uri Museum, London; Kiasma Museum of Contemporary Art, Helsinki; Kunsthall 3.14, Bergen; Depart Foundation, Malibu; Cambridge School of Art, UK; Sint-Lukas University, Brussels; University of Plymouth, UK; University of Pretoria, South Africa; Motorenhalle Centre of Contemporary Art, Dresden.
He coordinates a vast array of cultural projects.
Oreet Ashery, Selfish Road, 2022. Courtesy of the artist
Oreet Ashery (UK) is a visual artist who works across established art institutions and grassroots social contexts. Using film, photography, performance, 2D and textiles, they narrate stories of precarious identities and combine autoethnography, collective knowledge and biopolitical fiction. Ashery was awarded the 2017 Jarman Film Award for Revisiting Genesis (2016), a web series that questions how the boundaries between dying, care and self are affected by digital technologies. In 2020 they were a recipient of the Turner Prize Bursary for the exhibition Misbehaving Bodies: Jo Spence and Oreet Ashery (2019), Wellcome Collection, London. Their monograph How We Die Is How We Live Only More So (2019) was published by Mousse. Ashery is the Professor of Contemporary Art at Ruskin School of Art, University of Oxford.
She has participated in numerous exhibitions, including Venice, Liverpool, Thessaloniki Biennales; Tate Modern, London; Brooklyn Museum, New York; HKW Haus der Kulturen der Welt, Berlin; Herzliya Museum, Israel; Coreana Museum of Art, Seoul; Musée d’art contemporain de Montréal, etc.
Egle Oddo, Performative Habitats, 2022. Courtesy of the artist
Egle Oddo (Italy/Finland)'s work focuses on linear and non-linear narration as an art form. Interested in operational realism, meant as the presentation of the functional sphere in an aesthetic arrangement and its inter-relations, she combines photography, moving image, installation, sculpture, environmental art, and experimental live art. In her pieces industrial production morphs towards delicate handcraft, life forms appear and emerge out of sculptures and objects, film photography appropriate digital images, selected trash mix with fashion, precious edible minerals and ancestral recipes are served as part of ritual meals.
Her work is present at international biennials, Museums and relevant institutions, as well as cutting edge and independent alternative spaces and events, to mention few Kunsthalle Bratislava, MAXXI Museum of 21st Century Art, Manifesta12, Zilberman gallery, 3me Biennale Internationale de Casablanca, Finnish National Museum of Photography, 54th Venice Biennale, Triennial Agrikultura, MACRO Museum of Contemporary Art, gallery Bikini Wax, Fondazione Sandretto Re Rebaudengo, Club Solo, Kunsthalle Exnergasse Vienna, Transmediale, Pace Digital gallery New York, Loop Barcelona.
She lives and works in Helsinki. Her research is presently supported by The Finnish Cultural Foundation.
Mohammed Laouili, Les Sculptures n'étaient pas blanches, 2020. Courtesy of the artist
Mohammed Laouli (Morocco) lives and works in Marseille, Rabat and Stuttgart. The artist holds a master (Lic.) in philosophy from University Mohammed V in Rabat, Morocco. Mohammed Laouli's plurimedial approach can be understood as an endogenous analysis that consists of decomposing the world around him, in order to arrive at a total dissection, an inventory. His interventions in public space, videos, performances, photos, painting and collages explore the phenomena that cross and mark our societies. While his thought process clearly is politically committed, Laouli‘s approach is non discursive. He seeks to explore his vision and consciousness, travelling through the streets and the wastelands of cities with a focus on those who are marginalized or invisible.
At the same time, his approach includes a critical regard on the political, cultural and economic systems of power that surround him, he is especially interested in how the (post)colonial relations between Europe and the Maghreb shape our societies, our relations, our daily life and culture. Against this background Laouli reflects in his recent works how contemporary sites can carry residual memories of trauma, racism, classism. The colonial past—and, more specifically, the tensions between national commemoration and cities’ (marginalized) postcolonial communities—plays an important part in his practice.
Since 2013 Mohammed Laouli has been working together with Katrin Ströbel on frontières fluides - fluid boundaries, a long term project that focuses on transit movements between Europe and North Africa and questions the cultural, social, and economic effects of colonialism and the European migration policy. Laouli’s work has been subject of several individual and collective exhibitions such as Museo Nacional Centro de Arte Reina Sofía Madrid, Joest Rautenstrauch Museum Cologne, Centre de la Photographie Marseille, Tate Modern London, Zeppelin Museum Friedrichshafen, Dakar Biennale, Marrakech Biennale, IFA Galerie Berlin, ZKM Karlsruhe, MuCEM Marseille, Kunstverein Neuhausen, MACAAL Musée d’art contemporain africain Al Maaden Marrakesh, Galerie Lisi Hämmerle Bregenz or La Centrale for Contemporary Art in Brussels.
Mohammed Laouli received several grants such as Cité internationale des Arts Paris, Stipendium des Landes Baden-Württemberg for Hangar, Barcelona, Institut Français, Residence Mediterannée Marseille or Travelling Narratives Algiers.
Belinda Kazeem-Kamiński, Unearthing. In Conversation, 2017. Courtesy the artist
Belinda Kazeem-Kamiński (Nigeria) is a writer, artist, and scholar who earned a PhD-in-Practice program at the Academy of fine Arts Vienna. Her works manifest themselves through a variety of media. Rooted in Black feminist theory, she has developed a research-based and process-oriented investigative practice that deals with the condition of Black life in the African diaspora. Doing so, she interlaces varying spaces and temporalities, thereby resisting a clean-cut separation between documentary and speculation.
Solo and Group Exhibitions: FotoRio (2023), Liverpool Biennial (9.6.-17.9.2023), You are awaited but never as equals (20.4.-9.7.2023) Coalmine Winterthur, Seven Scenes(2022) Camera Austria Graz, If A Tree Falls In A Forest (2022), Les Recontres d’Arles, Emplotment (2022) Museum Ludwig Budapest, KAS (2022) Centrale Fies, Solo Exhibition (2021) Kunsthalle Wien, The World Is White No Longer. Ansichten einer dezentrierten Welt (2021) Museum der Moderne Salzburg e.g. Screenings: International Film Festival Rotterdam, Diagonale, Vancouver International Film Festival e.g. Her awards and prizes include: Art X Prize Africa Diaspora (2023), Camera Austria Award (2021), Doc-Grant Austrian Academy of Science (2018-2020), Cathrin Pichler Prize (2018), Theodor Körner Prize for Art (2016). Belinda Kazeem-Kamiński is represented by Gallery Wonnerth-Dejaco, Vienna.
Elena Tejada-Herrera, They Sing, They Dance, They Fight, 2020. Courtesy of the artist
Elena Tejada-Herrera (Peru-USA) is a key figure at the intersection of feminist, performance, and technological art in Peru. She earned MFA degrees from Virginia Commonwealth University in Richmond, and from the School of the Art Institute of Chicago.
Her work explores forms of erotic reinvention of human/nature relationships beyond heterosexual anthropocentric narratives. and the effects of environmental contamination and territorial devastation caused by the extractive industries in Latin America.
She is a non-binary transdisciplinary artist creating artworks with hybrid languages incorporating participatory and multimedia pieces. Many of her artworks defy political correctness. She creates spaces for the exercise of alternative ways of living, of relating to each other and for occupying spaces. Many of her works escape disciplinary notions and definitions, incorporating diverse media, such as drawings, landscape interventions, telephone messages, net art, dancing and exercising, real time participatory video performances, Zumba tutorials
collective installation assemblages, new media art and technology, self-defense workshops for women, transwomen and dissidents, among others. In many of Elena’s artworks, the audience becomes a creative active collaborator.
Her artworks have been displayed at: Kunstmuseum Wolfburg, Ulay Foundation Slovenia, Warsaw Museum of Contemporary Art, Sharjah Art Foundation, 11 th Berlin Biennale KW Institute for Contemporary Art, Frieze London; Museo del Barrio, Americas Society, New York, Contemporary Art center of Virginia, USA, the Neomudejar Museum of Madrid, Museum of Contemporary Art of Lima (MAC), Museum of Art of Lima (MALI), Proyecto AMIL also in Perú, PROA Foundation, Argentina, El Instante Foundation, Madrid, among many other venues. Elena was awarded residencies at the Cité Internationale des Arts, Atlantic Center for the Arts, among
many others, and prizes such as a James Nelson Raymond Fellowship, a Grand prix at the Pärnu XIII International Film & Video Festival, among others.
During the pandemic Elena created many videos with Peruvian transwomen, advocating for generating employment for them. Elena is an activist for human rights working in collaboration with other artists and collectives with an intersectional approach. Currently Elena studies along many activists for the Buen Vivir (from quechua’s language sumak kawsay), or Collective Well Being: a movement in the Abya Yala that fights for indigenous rights and for the rights of Nature looking for alternative solutions to the extractivist exploitative patriarchal capitalist system we live in.
Prinz Gholam, There are eyes, 2022. Production Aichi Triennale 2022. Courtesy of the artists and Galerie Jocelyn Wolff
Prinz Gholam—Wolfgang Prinz (Germany) and Michel Gholam (Lebanon) live in Berlin and have been working together since 2001. As visual artists they have developed a practice that is based on performative and collaborative processes which lead to live performances, videos, photographs, drawings, and objects. The work often revolves around iconic imagery of art history, negotiating and reviving this often static visual legacy. Their work is a ceaseless attempt to place or to negotiate the self and the body between their cultural construct and the world in which we live. They focus on the expression of character, situation, relationship, and intimacy.
Major presentations include those at documenta 14 (2017; Athens, Greece and Kassel, Germany), Mattatoio (2021; Rome, Italy), Musée Château Rochechouart (2022; France), Dresden State Art Collections SKD, (2022; Germany), Galerie Jocelyn Wolff (2023; Paris/Romainville, France), and recently at the aranya plein air art project (2023; Aranya Jin Shan Ling, Hebei, China).
Imran Channa, Two Shadows One Sun, 2022. Courtesy of the artist
Imran Channa (Pakistan/Netherlands) is a Pakistani visual artist, living and working in the Netherlands. His practice deals with the power and politics of storytelling and how the act of narration creates information and misinformation. He has been exploring this topic through the lens of archives, architecture, artefacts, film and technology. He uses drawing, painting, moving images, installation, and digital technology as a means to re-
examine this mechanism of power and its influence on the shaping of social consciousness. Channa’s work has been widely shown across the world in numerous solo and group exhibitions in The Netherlands, UK, Germany, USA, Belgium, Switzerland, France, Israel, UAE, Algeria, Hong Kong, Singapore, India and Pakistan. Imran Channa has been part of prestigious artists residencies, fellowships and talks around the world, such asEYE Film Museum, Amsterdam (2021-22), Parasite Radio at Stedlijk Museum Amsterdam (2022), Akademie Schloss Solitude, Stuttgart, Germany (2019-2020). Harvard University, South Asia Institute, Cambridge, Massachusetts, US (2018), Jan van Eyck Academie, Maastricht, The Netherlands (2016-2018), He was recipient of Gasworks residency in London (2011). He served as an assistant professor department of Fine Arts at National College of Arts, Lahore (2007-2016). He has been awarded with the “Award of Excellence” by Artists Association of Punjab at Alhamra Art Council, Lahore, PK (2013). He is Recipient of “Werkbijdrage Bewezen Talent” (2018-2021) by Mondriaan fonds, The Netherlands. Most recently his project “Promised Land” awarded by ADA awards 2023,
Mónica de Miranda
Mónica de Miranda, Beauty, 2018. Courstesy of the artist
Mónica de Miranda (Angola/Portugal) is a visual artist, filmmaker and researcher who works and lives between Lisbon and Luanda. Her work – which incorporates photography, video, drawing, sculpture and installation – investigates postcolonial politics of geography, history, and subjectivity in relation to Africa and its diaspora through a critical spatial arts practice.
She holds a PhD in Artistic Studies from Middlesex University (London). De Miranda is a co-founder of the artist residency project Triangle Network in Portugal and in 2014, she founded Hangar – Center for Artistic Research in Lisbon.
Her works have been exhibited internationally, including at the 12th Berlin Biennale (2022); Bienalsur – International Contemporary Art Biennial from the South (2020); Houston FotoFest Biennial (2020); Dakar Biennale (2016); and the 14th Architecture Biennale of Venice (2014) as well as in museums and galleries such as the Pera Museum in Istanbul (2017) and Caixa Cultural in Rio de Janeiro (2017). Her work is represented in public collections including The Museum of Art, Architecture and Technology (MAAT), The Calouste Gulbenkian Foundation, and The National Museum of Contemporary Art in Lisbon.
Marinella Senatore, The School of Narrative Dance, Ecuador, Performance within the framework of Bienal de Cuenca, 2014. Courtesy of the artist
Marinella Senatore (Italy) lives and works in Rome and Paris. Trained in music, fine arts and film, Senatore is a multi-disciplinary artist and her practice is characterized by a strong collective and participatory dimension. Senatore’s work merges forms of resistance, vernacular and popular culture, dance and music, mass events and activism, rethinking the political nature of collective formations (“Assembly”) and enable the public to generate a potential for social change. Intertwining with the artist’s personal autographical experiences and collective shared narratives, her practice encompasses collage, performance, sculpture, photography and video.
Her work has been exhibited widely throughout Italy and abroad, including MANIFESTA 12, Palermo; Centre Pompidou, Paris; MAXXI Museum, Roma; Queens Museum, New York; Palais de Tokyo, Paris; Museum of Contemporary Art, Chicago; Serpentine Gallery, London; Musée d’Art Contemporain de Montréal, Canada; Moderna Museet, Stockholm; Bozar, Brussels; CCA, Tel Aviv.
Ahmet Ogüt, The Missing T, 2018, commissioned by AKI AORA. Courtesy of the artist
Ahmet Öğüt (Turkey) is an internationally-renowned sociocultural initiator and conceptual artist. His work is rooted in the reality of everyday life and he uses the symptoms of social and political ideologies, systems and histories to produce ambitious projects that enact subtle shifts in perspective. Ogüt foregrounds the status and value of labour within the production of art, provoking a critical consciousness that calls into question the ethical and relational implications of the role of the artist and their work within the world. He has exhibited his work throughout the world at illustrious venues such as Documenta 14; Venice Biennale; The Metropolitan Museum of Art, New York; Van Abbemuseum, Eindhoven; Museum of Contemporary Art, Chicago; Palais de Tokyo, Paris; Stedelijk Museum, Amsterdam; MACRO – Museum of Contemporary Art, Roma; Museum Villa Stuck, Munich; Institute of Contemporary Art, London; ArtScience Museum, Singapore; Kunsthalle Basel; Contemporary Art Centre of South Australia, Adelaide; Witte de With Centre for Contemporary Art, Rotterdam.