An inception of an African Titan

Result #1

An inception of an African Titan with a Body: The Outline of the Nigerian Tradition, 1890–1890, a reconstruction of an African myth, is a key element of the exhibition. An enormous mound of earth, covered with a clothes of frank filaments, stands as a mythic metonym for the African body. The mound is topped by a sun-faced male deity, and one of his eyes is covered with a horn. The horn symbolizes the evil-alchemy of death and transmutation, and the body of the deity is both the symbol of death and a sign of the powers of the gods.The exhibition opened with the fantastical elements of traditional African costumes, including an elaborate spinning wheel, an oblong house, and a divine image of the African goddess. These artifacts are taken from the archaeological collection of the Museu de Arte Contemporânea, Brasília, and the Museu de Arte Contemporânea, São Paulo, where they are housed in a glass vitrine containing artifacts dating from the nineteenth century to the present. The exhibition thus moves between two historical periods and imagines the past through the present. It is a difficult, uncertain journey that produces evocative images and sounds, some more than others.The show begins with the earliest artifacts, which are usually the raw materials of everyday life. These include sticks, shells, feathers, sticks, sticks, feathers, stones, stones, shells, and shells. They are cast from sticks that have been twisted into knots and then tied into baskets, baskets, and other items of the sort that are usually kept in attics. These are objects that reveal their strange and startling qualities, making the viewer wonder at the authenticity of the objects. However, in order to make them fit in with contemporary notions of the African, the artist has arranged them in various configurations, which are the result of a series of experiments and the result of the translocation of information from one place to another.

Result #2

An inception of an African Titan, 1916, a young boy of African descent, who was born a slave in Nairobi, Uganda, in 1880, and who is still awaiting a return to his homeland. Two images, in the first group, show a white male head in the foreground of the landscape; the head is obscured by foliage, but the details of the hair are visible through the branches. The second group of images, in the second group, depict a black female head, looking out over a sky of clouds, dressed in a skirt of long white laces. The head is also obscured by foliage, but the image of the skirt is visible through the leaves, with the leafy pattern of the skirt forming a circle of light on the ground, a small tree. The photographs, printed on mottled paper with a silver frame, depict a series of photographs taken at different times of day, over the course of the day, and in the different weather conditions. In the foreground, a motherly figure holds a baby, who is turned upside down, and who has not yet learned to walk. In the background, a woman with a black-and-white striped dress is seen at the top of the photograph, standing with her head bowed, holding a baby. In both groups of images, the figures are caught in a moment of emergency, but are not deliberately chosen.Instead, the photographs were taken at different times of day, over the course of the day, and the head of the child, who is an African, is a child of African descent. The use of photographs is not a gesture of innocence. On the contrary, the photographs depict an emergency situation, and they convey a sense of dislocation, of a vulnerable position, a feeling of passing through. The children in the second group appear to be running, while the mother appears to be leaning over the baby in the second group.

Result #3

An inception of an African Titan? The attempt to conceive of a region that would be both autonomous and independent from the rest of the world, in which the focus would be on a singular existence, the simultaneity of which would be the same as that of the creation of the world. This is a vision that, as Kerciu says, can be understood as the link of two orders. (For example, in the six large bronze sculptures that were exhibited here, the artist has placed the human body in the same relation to an immense wheel of bronze, in which one can see the moment when the bronze turns, and the work also contains a glass case containing a list of names of those who have already passed away.) In this show, the idea of a mythical continent with an in-between position that could be reached only by a certain type of traveling or magical means was manifest, and thus, in the most figurative of works, the belief that art is a form of travel or of passage. This was also the idea behind the rotating sculptures that were scattered on the floor, each piece with a corresponding name, as if to point out the artists recent departure from this work, which was conceived during a year in the life of a European artist who lived in the northern part of Africa.The installations in the exhibition were arranged on a simple platform. The relationship between the viewer and the work is clear: One has to move among them, but the interaction between the viewer and the sculptures is varied and complex, and the works, when seen together, become a huge, sensual, and sensualizing experience. This is the essence of travel and voyage, in which the way of looking is altered and transformed. One can experience this by looking at the works in a different way, but the exhibition is not really about such a perspective; rather, it is about the position of the viewer as an active participant in an intimate, imaginary space, where time, place, and movement become one.

Result #4

An inception of an African Titan, 1978–81, a black woman wreathed in a red silk scarf whose edges had been severed, with a top of a mask, is a random flow of elements into the work of the artist. An African Titan, 1978–81, is a collage of celluloid, skin, hair, and hair. In this work, the black woman is no longer the blank and white model, but a black woman. The same black woman appears in a number of sketches and objects. In a drawing of a self-portrait, the artist has replaced the lips with the open mouth of the mask. The mask appears to be held up by an enormous hairbrush. The brush brushes bristles are free, and the images are not a conscious or unconscious effort to self-portrait, but a spontaneous response to the subject. The fact that the mask is a mask, and the black woman is no longer the black woman, but a mask, is a point of departure. In the drawings of a self-portrait, the black woman has become a woman, and the drawings are of her in a dress. This point of departure is not simply the black woman but also a stylistic position and a political one.The artists presence has been inscribed in the body of the figures, not only through the material (pencil, ink, crayons) but also through the themes of the works themselves. In this respect, the works are not paintings but rather objects. In a statement, the artist calls the works a series of drawings, and they can be thought of as a pictorial shorthand. But the drawings, which are still works, are also the work of objects, or at least they are representations of objects. In the end, however, the social point of these works is to show the artist, the artist as a figure, and not merely as a figure in a mask.

Result #5

An inception of an African Titanomachy, the most famous of the Latin-speaking cultures in Europe, this installation is also a reflection on the wars of ideologies that continue to divide the continent into opposing camps. The other piece in the show was called Nota bene, 2012, which was made for the occasion of the 80th Venice Biennale in Venice, California. A circular path leads from the entrance of the Italian Pavilion to the Italian pavilion itself. Along the way, one encounters, in a sort of childrens playground, a blackened-white rock, with a mass of spikes rising up from the bottom of the hill. This is the site of a memorial for victims of the Nazi regime and, like a memorial to victims of civil war, it serves as a reminder that fascism is a recurrent presence in contemporary Europe. It is not surprising, therefore, that a young boy from outside Italy is now doing his patriotic thing by placing an American flag on the hill. It is also not surprising that the placement of a memorial on a hill is the only place in which a politician would want to use this memorial to start a political debate. In this case, however, it is a political event and as such it is a political act of remembrance and remembrance, a memorial in the sense that is required by law and intended to be respected. It is not the same as a memorial on a hill. It is not, for example, a monument to a terrorist. Rather, it is a monument to the victims of a terrorist attack, in the same way that it is a memorial to a political event. On a broader level, it is a memorial to the victims of political repression and conflict. It is therefore no coincidence that the individual who places a monument on a hill also places a monument on an American flag; these are political issues, of course, but they are also political issues of remembering and remembering.

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