Events — Mar 24, 2022

Curated by  Natasha Ginwala, Bonaventure Soh Bejeng Ndikung with Michelangelo Corsaro, Invocation #2: Markings and Moorings: Indigo Waves and Other Stories.

Through a series of invocations and exhibitions, Indigo Waves and Other Stories in partnership with institutions across Cape Town, Berlin, Haarlem, Karachi and Brisbane engages oceanic modes of analyses, resonance and convening foregrounding the Indian Ocean World as method (Isabel Hofmeyr). Partner Institutions: Vasl Artists' Association, Karachi; Zeitz MOCAA, Cape Town; Martin-Gropius-Bau, Berlin; SAVVY Contemporary, Berlin; Frans Hals Museum, Haarlem; IMA, Brisbane.

Price
Valid musuem ticket + €3
Location
Teijin Auditorium
Time
Mar 24, 2022, 11 am until 5 pm
Main language
English
Admission
Tickets 

Natasha Ginwala and Michelangelo Corsaro: Markings and Moorings: Indigo Waves and Other Stories

Taking a page from Yvonne Adhiambo Owuor’s literary odyssey Dragonfly Sea, this day journeys towards the many names the Indian Ocean is called by, its many hues, peoples and shores. Muddying ideas of nation-based sovereignty while reckoning with historic and contemporary civic struggles around port infrastructure and seascapes of destruction, through this convening, we immerse in the ritualistic and sonic legacies of seafaring communities as aural inheritances and ‘interconnected archives’ (Renisa Mawani). Further, the passage of epidemic and dispersal of human and beyond human lives through Afrasian waterways is observed as part of pre-imperial continuum, early globalisms and mercantile ambition.

Natasha Ginwala. Photo: Mara Zatti

With: Brook Andrew, Yasmine Attoumane, Clara Sukyoung Jo, Köken Ergun, Yvonne Adihambo Owuor, Francesca Savoldi and Zahra Malkani with Syma Tariq.

Natasha Ginwala is a curator and writer. She is associate curator at Gropius Bau, Berlin and Artistic Director of Gwangju Biennale 2020 with Defne Ayas. Ginwala has curated Contour Biennale 8, Polyphonic Worlds: Justice as Medium and was part of the curatorial team of documenta 14, 2017. Other recent projects include COLOMBOSCOPE Festival Sea Change (2019); Arrival, Incision. Indian Modernism as Peripatetic Itinerary in the framework of ‘Hello World. Revising a Collection ’at Hamburger Bahnhof – Museum für Gegenwart, Berlin, 2018;  Riots: Slow Cancellation of the Future  at ifa Gallery Berlin and Stuttgart, 2018; My East Is Your West  at the 56th Venice Biennale, 2015; and Corruption: Everybody Knows… with e-flux, New York, 2015. Ginwala was a member of the artistic team for the 8th Berlin Biennale for Contemporary Art, 2014, and has co-curated the Museum of Rhythm, at Taipei Biennial 2012 and at Muzeum Sztuki, Łódź, 2016–17. From 2013–15, in collaboration with Vivian Ziherl, she led the multi-part curatorial project Landings presented at various partner organisations. Ginwala writes on contemporary art and visual culture in various periodicals and has contributed to numerous publications. She is a recipient of the 2018 visual arts research grant from the Berlin Senate Department for Culture and Europe.

Michelangelo Corsaro is a curator and writer currently based in Berlin. He was associate curator of the 13th Gwangju Biennale, Minds Rising, Spirits Tuning, directed by Defne Ayas and Natasha Ginwala. He organized Leidy Churchman’s solo exhibition Snowlion and Liliane Lijn’s Cosmic Dramas at Rodeo, Piraeus. He assisted in the curatorial team of documenta 14, working on the conception and production of several artistic projects in Athens as well as in Kassel. In 2016 he curated Socratis Socratous solo exhibition Casts of an Island, at Point Centre for Contemporary Art, Nicosia and the group show Handsome, Young, and Unemployed, at Komplot, Brussels. He was twice fellow curator at the Schwarz Foundation in 2013 and 2014, collaborating on Slavs and Tatars’s Long Legged Linguistics and Nevin Aladağ’s Borderline at the Art Space Pythagorion, Samos. From 2013 to 2015 he has been curator at Kunsthalle Athena where he contributed to developing a programme of exhibitions and live events. As part of the editorial team of South as a State of Mind he contributed to several printed issues and managed the online magazine until 2015. His texts were published in Critical Collective, ArtReview, South as a State of Mind and CAC Interviu.

About Oceanic Imageries

“Oceanic Imaginaries” conceives the oceans as sensors that feel, create and connect. From an ecological point of view, the oceans are 'critical zones' that require radical changes in our thinking and acting. They are also dark archives filled with suppressed stories of transatlantic trade in enslaved people or boat refugees in the Mediterranean. However, the oceans can also be experienced as immersive spaces of affect and liberation in which new forms of life can emerge. How can we liquefy our ways of being? How can we think from and with the ocean?