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Lilith Performance Studio

Bragegatan 15,/Ystadvägen 22, 214 30 Malmö

Fredag d. 4/12 - søndag d. 6/12 alle tre aftener kl. 19-21


WATA don PASS; Looking West

Taiwo Aydogan, Bernard Akoi-Jackson, Odun Orimolade, Christian Etongo

15.05.2015 - 16.05.2015
FACEBOOKEVENT


PRESSEMEDDELELSE

WATA don PASS; Looking West is an exclusive performance event at Lilith Performance Studio with four artists from West Africa; Taiwo Aiyedogbon (NGA), Bernard Akoi-Jackson (GHA), Christian Etongo (CMR), Odun Orimolade (NGA) and a seminar at Moderna Museet Malmö.

Between May 14-16 and for the first time in Scandinavia Lilith Performance Studio will present four newly commissioned large-scale performances with Aiyedogbon Taiwo (Nigeria), Bernard Akoi-Jackson (Ghana), Christian Etongo (Cameroon) and Odun Orimolade (Nigeria) that will take place simultaneously, without compromising neither artistic expression nor the unique experience.

Over the past year the four artists have developed performances specifically for Lilith Performance Studio. From their different artistic vantage points they highlight the emerging performance art scene in West Africa, with the common feature that performance has become an important part of their oeuvre. During three nights in May their wayward, humorous and personal works will fill the entire studio for three nights in a row.

WATA don PASS; Looking West is a curatorial collaboration between Bisi Silva; Centre for Contemporary Art, Lagos, Nigeria, Marianne Hultman; Oslo Kunstforening and Elin Lundgren, Petter Pettersson; Lilith Performance Studio.The title of the event refers to a pidgin expression meaning to achieve beyond expectations. Performance May 14-16 at Lilith Performance Studio.

Taiwo Aydogan (NGA) - African Time
In a staged situation Aiyedogbon, tongue in cheek, puts Western prejudices against the expression "African Time" up to the test, while at the same time challenging our gridded pattern of life, where we let ourselves be chased by time. Taiwo Aiyedogbon (b.1989) belongs to the new generation of visual artists in Nigeria, and is still studying art at Yaba College of Technology in Lagos. She has participated in several performances and has over the past year started to develop her own language with this art form.

Bernard Akoi-Jackson (GHA) - Untitled: How to usher the [an] African peacefully into [his] Tory ... "
From the layers of bureaucratic regulations and modern rituals Bernard Akoi-Jackson have created a fictitious system where the audience is hemmed in. The system, which has a recognizable structure, is followed on pure gut instinct, with no questioning. Bernard Akoi-Jackson (f.1979) examines recurrent hybrid postcolonial identities, through temporary markings and performative rituals. He often presents himself as the elusive God Eshu, the messenger between gods and humans.

Odun Orimolade (NGA) - Spirits of the ball
Orimolade's point of departure is the 18th century ball using it as a metaphor to engage the events before, during and after the Berlin Conference of 1884-85. Spirits of the Ball is best described as a fantasy of sorts, amusing but with a serious undertone, which reflects on the conference. The ball makes you think of fine ladies in crinolines, the rustling of their fabrics and gentlemen in tails, but this image is interrupted by another presence; the people's spirits Emi. Odun Orimolade's (b.1976) practice spans a broad artistic field with painting, drawing, collage, etching, sculptural installation and performance. Several of her works clearly turns the spotlight toward the viewer challenging his/her active, passive role when experiencing the work.

Christian Etongo (CMR) - Probo Koala
The Probo Koala is the tanker that in 2006 dumped five hundred tons of toxic waste in the Ivory Coast. This event is the starting point for Etongo's performance, in which, with the help of the visitors he will perform the purification ritual Tsô, as practice among the Beti in Cameroon. In the ritual a person who has entered into covenant with evil is purified. In Christian Etongo's (f.1972) performance practice, ritual constitutes a principal element. He has a background in the performing arts, dance and theatre, but as a visual artist he has worked within different media. Since the late 1990s, he has worked exclusively with performance.

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