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Current Resident: Sep 1, 2022–Aug 31, 2023

OCA - Office for Contemporary Art Norway

Studio #220

Artist

Anawana Haloba

Anawana Haloba’s artistic practice is an ongoing investigation of societies’ positions within various political, social, economic, ideological, cultural, and post-independence frameworks. Haloba drafts poetry in the form of sketches for her work, from which she abstracts to performative-based artworks in moving image, installation, and sound. She constructs scenarios in which the material culture of any given location can be probed and reconsidered within the context of rapidly shifting contemporary subjectivities.

Anawana Haloba has exhibited work at Center Georges Pompidou, France; Biennale di Venezia, Italy; and Sao Paulo Biennial, Brazil, among others.

anawanahaloba.net

Events & Exhibitions

2022 Fall Open Studios

November 18–November 19, 2022

Confessions of a delusional dictator and a museum of guilt explores the pitfalls of post-independence development during the 60s-70s throughout to 80s, the rise and failure of African Socialism, the social and economic politics struggles and the stifling of freedom of speech (expression) assembly, Social, and economical exploitation it comprises of a safety bunker, or a contemplation of a fictional president modelled on my research. Inside the bunker is a marble confession box with a two-way video work where a delusional dictator is giving his contradictory confession in front of a female priest. Also found in the bunker is some kind of memorabilia collection from either material on victims of torture or merchandise confiscated from oppositional supporters to all other materials imagined.

Anawana Haloba, Confessions of a delusional dictator and a museum of guilt, 2013-2016, video installation

How to (re)pair my grandmother’s basket is an experimental opera by the contemporary visual artist Anawana Haloba, drawing from African philosophy and operatic traditions. The opera is grounded in the Ubuntu philosophy of encounter to create a non-hierarchical comparative method, by which to interrogate rootedness and empathy. Haloba’a opera is created and composed borrowing from operatic conventions, knowledges and sensibilities outside the European tradition, mainly from Southern Africa, such as Chiyabilo/Kuyabila and Budima from Zambia. The libretto of this experimental opera, scripted by Haloba, is a dialogue among non-gendered characters who transverse geographies, cultures, and societies, composed for these times. It engages with questions of environmental racism, the rise of nationalism in the western world, and the plight of immigrants. Her incandescent experimental libretto and composition is an extension of her doctoral exhibition at Bergen University and teaching practice, in particular a course she taught at KHiO University in Oslo, based on a comparative approach. (Re)pair opens many possible readings: repairing the basket as a new pairing of histories side-by-side, as much as the idea of recovery, or reparation (though the basket, or history, may not be ever retrievable).

Anawana Haloba, How To (RE)Pair My Grandmother's Basket, 2021-2022, sound and music installation, dimensions variable

A DRAGON KING IN SLEEPY PRIDE ROCK explores China’s presence in Africa (Zambia particularly), taking into consideration the historical, and present day, myths and facts. My want to research this theme is partly inspired by the religiously flared-up media declaring China’s “new inroads” without looking at its long history in Africa. Now having pointed that out, this project does not aim to engage China’s presence in Africa from the Tang Dynasty (618-907) through the last imperial dynasty of Qing (1644- 1912), a period that accounts for an overwhelming knowledge of Africa. Here rather, I am interested in exploring China’s modern relations with Africa commencing in the 1950s during the cold war era, and throughout the 60s/70s, examining its social and political implications. What did this solidarity or ‘friendship of economics’, whose core agenda was eradicating colonialism and forging a common front to safeguard sovereignty of emerging nations against cold war politics, mean to a newly independent Africa? is divided in three parts “a synchronised video/sound/Animation with the animation playing from 3 old television set (early 60s-70s model) with sound from headphones. An interactive piece of train rail piece of 2.8 cm in length that always triggers sound if rubbed with dry maize grain beneath it, as way to retell the stories of both the workers and witness (people that lived along the rail). There is a saying that says one can trace their journeys through a maize cob, it’s a game kids would play while eating fresh maize- eating the grain on a cob in way that you creates irregular lines. A series of drawing from the made by layering photographic images and then re-drawing over with an ink pencil. Each drawing goes with a text especially written for it. A wall (sound memory wall) with tiny 14 home-made speakers using calabashes, cables and speaker drives that play different sound from each of the 14 station along the Tazara railway. Above where the television will installed on a time-line map of the migration and also the railway map.

Anawana Haloba, A Dragon King in Sleepy Pride Rock, 2016-2020, film, sound, drawing, and installation

ISHALL CURE YOU WITH MY TONGUE is part of a larger installation work, Conversations with Stitched Up Lips and the second listening station. “Conversations with Stitched-Up Lips” was a “process exhibition” in which I compiled information from interviews I had with different thinkers, friends, readings and rewrote them in as conversations, and poems written by myself. The exhibition was intended to bring out a series of internal discussions of the mind, reflections, reactions and other poetic meanderings, embedded in the exercise I called “A Process of Becoming” dedicated to work of Frantz Fanon who is the main subject of my PhD research. Understanding the background, environment and heritage of Fanon was as crucial as the scriptwriting. With the recorded text, I included the ambient sounds of nature and music from Martinique. The viewer was invited to listen to fragments of text, noise and tones relating to trauma, healing and psychoanalysis via several sculptural audio stations.

Anawana Haloba, I Shall Cure You With My Tongue, 2018, sculptural and sound installation

Close-up is an installation with sound elements revolving around salt rocks that, over a period of time, undergo a process of liquefaction. It makes reference to the bodily fluids of humans, minerals found in landscapes and the historical significance of salt as a means of exchange. The melting and trickling of the salt is a slow, timed, and amplified process that ultimately leads to relief on the one hand and extinction on the other.

Anawana Haloba, Close UP, 2010-2016, sound installation

Ecuador

Current Resident: Jan 1, 2023–Mar 31, 2023

Jane Farver Memorial Fund

Studio #221

Curator

Anamaría Garzón Mantilla

Anamaría Garzón Mantilla is an art historian and curator. In addition to being a professor at Universidad San Francisco de Quito, she is a PhD student at the University of Essex and the director of post(s), an academic journal about art, media and culture. Her research focuses on artistic and curatorial practices that challenge hegemonic narratives and omissions in art history.

Anamaría Garzón Mantilla has curated exhibitions at Centro de Arte Contemporáneo de Quito; Arte Actual – FLACSO; and Khora, all in Ecuador.

Estado Fósil is a book that explores 50 years of oil exploitation in Ecuador

Anamaría Garzón Mantilla, Estado Fósil, 2023, publication

A+A is a platform that reunites artists and activists.

Anamaría Garzón Mantilla, Arte + Activismos, 2018-ongoing, platform that connects artists and activists

Anamaría Garzón Mantilla, post(s), 2015-ongoing, academic journal dedicated to the study of art, media and culture.

Exhibition of David Orbea, curated by Anamaría Garzón Mantilla

Exhibition poster 'Flat News (El largo siglo XXI)' by David Orbea, curated by Anamaría Garzón Mantilla, 2022

Exhibition of NHormiga, curated by Anamaría Garzón Mantilla

Exhibition poster of 'Doblar la esquina' by NHormiga, curated by Anamaría Garzón Mantilla, 2022

Ireland

Current Resident: Jan 1, 2023–Apr 30, 2023

Temple Bar Gallery + Studios, Dublin

Studio #302

Artist

Aideen Barry

Aideen Barry is a multidisciplinary visual artist working across various disciplines. Barry’s practice explores subjects such as domestic labor, examinations of class, otherness, environmental change, and human vulnerability.

Aideen Barry has exhibited work at the Irish Museum of Modern Art, Dublin; Kazten Center at American University Museum, Washington D.C.; and Centro de Arte Contemporáneo de Málaga, Málaga, among others.

aideenbarry.com

Aideen Barry, Béal (All Silent but for the Buzzing ) & The Monachopsis Drawing Editions, 2021, sound and architectural installation, dimensions variable