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ON MONUMENTAL SILENCES: Seckou Ouologuem (Decolonize Belgium)
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ON MONUMENTAL SILENCES
A New Project by Ibrahim Mahama
27.01 — 04.03.2018 SOLO EXHIBITION
Curated by Antonia Alampi
OPENING EVENT - 27/01/18 - A public program with talks by - in order of appearance - Intro: Antonia Alampi (Extra City), Sara Weyns (Middelheim Museum), Bambi Ceuppens (The Royal Museum for Central Africa), a conversation between Ibrahim Mahama and Antonia Alampi, Seckou Ouologuem (Decolonize Belgium) and Stella Nyanchama Okemwa (Hand in Hand Against Racism).
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Does history cease to exist when a memorial is removed from public view and civic sanction – or is that act of removal, a forceful repudiation of the past, itself an act of choice and agency in history?
The recent events of Charlottesville (US) encouraged again an urgent debate on mainstream media about the racist and colonial monuments that adorn our cities. Monuments and memorials of colonial and imperial legacy that are rarely contextualized still stand in public space and have not been combined with counter perspectives that would allow for a narrative that is more adherent to the truth about the events or the people, which the sculptures represent.
On Monumental Silences by Ghanaian artist Ibrahim Mahama is a response to the presence of these types of monuments, in many cities in Belgium and Flanders, and to their messages full of racism, white supremacy, imperialism and patriarchy. By engaging with the infamous monument of Father De Deken in Wilrijk (by Jean-Marie Hérain and erected in 1904), this project will confront the audience with the values and propaganda this image still performs and inspire a reflection on how such an image could be transformed. On Monumental Silences brings to the fore not only the need to re-challenge the narratives monuments bear, but also the question of how to actively intervene, by considering which subjects continue to be denied a voice, a place in history and a representation, what side of the events is missing a story. While the shoot is largely and overwhelmingly visible, where can we find the counter-shoot? As Ray Minniecon, an Aboriginal student at Murdoch University, stated “Monuments are not just a window into our past; they are a window into ourselves. We can choose.”
Location Kunsthal Extra City, Eikelstraat 25-31, 2600 Antwerpen
A New Project by Ibrahim Mahama
27.01 — 04.03.2018 SOLO EXHIBITION
Curated by Antonia Alampi
OPENING EVENT - 27/01/18 - A public program with talks by - in order of appearance - Intro: Antonia Alampi (Extra City), Sara Weyns (Middelheim Museum), Bambi Ceuppens (The Royal Museum for Central Africa), a conversation between Ibrahim Mahama and Antonia Alampi, Seckou Ouologuem (Decolonize Belgium) and Stella Nyanchama Okemwa (Hand in Hand Against Racism).
---
Does history cease to exist when a memorial is removed from public view and civic sanction – or is that act of removal, a forceful repudiation of the past, itself an act of choice and agency in history?
The recent events of Charlottesville (US) encouraged again an urgent debate on mainstream media about the racist and colonial monuments that adorn our cities. Monuments and memorials of colonial and imperial legacy that are rarely contextualized still stand in public space and have not been combined with counter perspectives that would allow for a narrative that is more adherent to the truth about the events or the people, which the sculptures represent.
On Monumental Silences by Ghanaian artist Ibrahim Mahama is a response to the presence of these types of monuments, in many cities in Belgium and Flanders, and to their messages full of racism, white supremacy, imperialism and patriarchy. By engaging with the infamous monument of Father De Deken in Wilrijk (by Jean-Marie Hérain and erected in 1904), this project will confront the audience with the values and propaganda this image still performs and inspire a reflection on how such an image could be transformed. On Monumental Silences brings to the fore not only the need to re-challenge the narratives monuments bear, but also the question of how to actively intervene, by considering which subjects continue to be denied a voice, a place in history and a representation, what side of the events is missing a story. While the shoot is largely and overwhelmingly visible, where can we find the counter-shoot? As Ray Minniecon, an Aboriginal student at Murdoch University, stated “Monuments are not just a window into our past; they are a window into ourselves. We can choose.”
Location Kunsthal Extra City, Eikelstraat 25-31, 2600 Antwerpen
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