SPEAKING FEMINISMS – Exercise #8: Tracey Rose
Thursday, 11. January, 7 pm

In collaboration with SAVVY Contemporary
Curated by Nathalie Mba Bikoro Anguezomo, Federica Bueti and Elena Agudio
At SAVVY Contemporary, Plantagenstraße 31, 13347 Berlin-Wedding

Saturday, 13. January, 2 pm
Finissage of the exhibition „Every Mask I Ever Loved“ with the artist and the curator
An Afternoon with the Masks
Performance, Diskussionsrunde, Vortrag, Gespräch
With Natasha Ogunji and the Eva Barois De Caevel, Kathy-Ann Tan et al.
At ifa-Galerie Berlin, Linienstr. 139/140

Thursday, 11. January, 7 pm
SPEAKING FEMINISMS – Exercise #8: Tracey Rose
In collaboration with SAVVY Contemporary
Curated by Nathalie Mba Bikoro Anguezomo, Federica Bueti and Elena Agudio
SAVVY Contemporary, Plantagenstraße 31, 13347 Berlin-Wedding
As part of SAVVY Contemporary’s Speaking Feminisms series, which attempts to reflect on how feminist intersectional politics can be mobilised to challenge structural violence perpetrated by capitalist and western ideology, Tracey Rose presents a puppet play titled “Muschis mit Schwänzen”. The script is an edited version of the comment section of video interview with Chimamanda Ngozi Adichie in which the Nigerian writer responds to the question, “What is Feminism?”
Tracey Rose belongs to a generation of artists charged with reinventing the artistic gesture in post-Apartheid South Africa. Within this fold, she has defined a provocative visual world whose complexities reflect those of the task at hand. Refusing to simplify reality for the sake of clarity, the artist creates rich characters that inhabit worlds as interrelated as the many facets of a human personality. Her reference to theatre and the carnival tradition also places her work in the realm of satire. As such, it has consistently questioned and challenged the prevalent aesthetics of international contemporary art, the emergence of a dominant cultural narrative of struggle and reconciliation in South Africa and also post-colonial, racial and feminist issues in the wider world. Working with performance, often for the camera, Tracey Rose places her body at the centre of her practice. She inhabits the roles given to Africans, to African women, and to women in a male dominated world, swallowing stereotypes whole.

Tracey Rose (b. 1974 in Durban, South Africa) holds a Master of Fine Art from Goldsmiths College, University of London (UK) and received her B.A. in Fine Arts from the University of the Witwatersrand, Johannesburg in 1996. She was trained in editing and cinematography at The South African School of Motion Picture Medium and Live Performance in Johannesburg.
Rose has exhibited and performed widely both at home and internationally, including the South African National Gallery, Cape Town; Dakar Biennial (2000 & 2016) Museo Reina Sofia, Madrid (2014). Goodman Gallery, Johannesburg; The Project, New York; Johannesburg Art Gallery (2011);Tate Liverpool (2010); Venice Biennial (2001 & 2007); The Brooklyn Museum, New York (2007); Walker Art Center, Minneapolis (2003); Documenta 14, Athens & Kassel (2017); Museum of Modern Art, Buenos Aires; Biennial of Moving Images, Geneva; the São Paulo Biennial; EVA International, Limerick (2016).

Saturday, 13 January, from 2 pm
Finissage of the Exhibition : “Every Mask I ever Loved”
An Afternoon with the Masks
Performance, discussion, lecture, conversation
With Wura-Natasha Ogunji, Eva Barois De Caevel, Kathy-Ann Tan et al.
At ifa-Galerie Berlin, Linienstr. 139/140, 10115 Berlin-Mitte

2pm Performance: Wura-Natasha Ogunji „The Kissing Mask“
„The Kissing Mask “is inspired by one of ruby onyinyechi amanze’s drawings titled: „that low hanging kind of sun, the one that lingers two feet above your head, (never dying) house plants in exchange for your freedom…orchids in exchange for your love, who are you kissing, when you kiss a mask?“  The kissing Mask reconnects the ‚artifact‘ to the present moment by proposing an intimate act between artist, mask and viewer.

2:30pm Discussion with the performers

3pm Lecture by Eva Barois De Caevel: „Acting Decolonially – From Adrian To Zora – Black Women Performing“ (EN)
An art history journey through works by Black African, American, and European women artists from the 20th and 21st centuries whose  performances  (in a broad sense) disrupted colonial thought. Starting with Adrian Piper and her  Calling Cards , ending with Zora Neale Hurston and her dance stagings, meeting Grace Jones’s boldness on the way.

3:30pm Coffee break

4pm Kathy-Ann Tan and Wura-Natasha Ogunji in conversation: „Performance, Masking and ‚the limits of empathy and identification’“ (EN)

Eva Barois De Caevel is an independent curator. She works as a curator for RAW Material Company and is the coordinator of the RAW Academy (Senegal). In 2016, she was part of the curatorial team of EVA International – Ireland’s Biennial. She is also editor for the Institute for Human Activities (Congo, The Netherlands, Belgium) and one of the founding members of the curatorial collective Cartel de Kunst, created in 2012, and based in Paris. She is the recipient of the ICI Independent Vision Curatorial Award 2014.

Wura-Natasha Ogunji (b.1970 in St. Louis, USA, based in Lagos, Nigeria) holds a BA in Anthropology from Stanford University and an MFA in Photography from San Jose State University. She is a recipient of the prestigious John Simon Guggenheim Memorial Foundation Fellowship and has received grants from the National Performance Network, The Pollock-Krasner Foundation, The Dallas Museum of Art and the Idea Fund.

Kathy-Ann Tan is a Berlin-based academic who received her PhD and Habilitation in North American Literatures and Cultures from the University of Tübingen. She is currently a guest professor at the University of Paderborn. Her current research project, “The Aesthetics of Decolonization: Performance, Affect and Visual Perception”, explores how dominant narratives of western modernity are complicated, challenged and re-negotiated in performance and visual cultures (visual art, site specific performances, museum interventions, etc.), cultural practices, and social formations.


Über „Untie to Tie – Über koloniale Vermächtnisse und zeitgenössische Gesellschaften“ in der ifa-Galerie Berlin

Mit „Untie to Tie“ lädt die ifa-Galerie Berlin dazu ein, über die Auswirkungen der kolonialen Vermächtnisse zu reflektieren, die nach wie vor zeitgenössische Realitäten und alltägliches Leben global beeinflussen. Von April 2017 bis April 2018 wird dieses Thema in vier Kapiteln aus verschiedenen Perspektiven wie der globalen Verbundenheit, urbanen Kulturen, intersektionalem Feminismus sowie, im abschließenden Kapitel, Aufstand und Widerstand beleuchtet.

Kapitel 1:
Globale Verbundenheit

Kapitel 2:
Urbane Kulturen

Kapitel 3:
Formen des Feminismus

Kapitel 4:
Über Aufstände und Widerstände

About “Untie to Tie – On Colonial Legacies and Contemporary Societies“ at ifa Gallery Berlin

With the programme “Untie to Tie – On Colonial Legacies and Contemporary Societies”, the ifa Gallery Berlin invites to reflect on the impacts of colonial legacies, which continue to globally influence contemporary realities and everyday life. From April 2017 to April 2018, four chapters will address this topic through different lenses: global relatedness, urban cultures, intersectional feminism, and a closing chapter dedicated to riots and resistance.

Chapter 1:
Global Relatedness

Chapter 2:
Urban Cultures

Chapter 3:
Intersectional Feminisms

Chapter 4:
Riots and Resistance

© Wura-Natasha Ogunji, The Kissing Mask, 2017, photo: Victoria Tomaschko