The era of the Anthropocene is marked by multiple crises. Climate change, war, colonial white male hegemony, abuse of power and oppression of marginalized groups and communities as well as diseases and the effects of globalization determine the realities we live in. Still, there are courageous attempts, inspiring visions and motivating narratives that find their long but steady way from the margins to the center, tempting to change the path of the future.
The group show IN OUR HANDS presents three individual and collaborative positions that use photography, video and sound to form an exemplary kaleidoscope of global struggles imbedded within individual victories. Grounded on the belief that the white male heteronormative post-colonial hegemony and the exploitation of nature and people must be overcome, they imagine a future free of social, natural or political constraints. From the integration of indigenous knowledge, over the bolstering of a new identity for the Black diaspora in Europe to the rare collection and archiving of art from Afghanistan – each position is a small victory for social change, for influences and trends, every so often still invisible, but about to blossom. Our aim is to share a vision that supports a deeper understanding of the world by dialogue; and to create new memories that build the fundament for a new future.
In reference to the Japanese philosophic concept of Nagomi, that creates harmony by integrating conflicting elements, the exhibition brings together what usually is divided. As a new union of diverse aesthetics and visions, we are reminded that every theoretical and practical boundary is just a construct and empowers us to acknowledge the strength of our own thoughts, ideas and actions. As the author-activist and indigenous human rights lawyer Julian Aguon puts it in his inspiring lyric essay No country for Eight-Spot Butterflies, ‘we all have to use our hands to save the world.’
Ursula Biemann
The artistic practice of the Zurich-based artist, author and video essayist Ursula Biemann is strongly research oriented and involves fieldwork in remote locations from Greenland to Amazonia, where she investigates climate change and the ecologies of oil, ice, forests and water. In her multi-layered videos, she interweaves vast cinematic landscapes with documentary footage, Science-Fiction, poetry and academic findings to narrate a changing planetary reality. Biemann’s pluralistic practice spans a range of media including experimental video, interview, text, performance, photography, cartography, props and materials, which converge in formalized spatial installations. Her work also adopts the form of publications, lectures, and curatorial as well as collaborative research projects.
Biemann’s works have been presented internationally in solo and group exhibitions: among others at the Biennale of the Moving Image, Buenos Aires, AR (2022), Tai Kwun Contemporary, Hong Kong, HK (2021), Museum of Contemporary Art Ludwig, Budapest, HU (2021), Kunst Haus Wien, Vienna, AT (2020) and HKW, Berlin, DE (2020) – to name the latest.
Rami Hara
The photographs of Brussels-based Rami Hara play with themes of alienation, anonymity and the question of belonging, being deeply rooted in his sense for community. He is inspired by his family and the pop-culture of marginalized communities in Europe. He uses strong and bold colours that bring forth a sense of playful mystery, showing a world where the viewer is allowed to grant a glimpse into the unknown. The objects of his portraits are statuesque, almost sculptural and hold a quiet dignity, these aforementioned fabrics (the veil, the durag ) are elevated from their utilitarian role into markers of adornment. A hijab becomes a royal veil, a durag transforms into the crown of a young, anonymous king, a portrait becomes a painting. Rami Hara’s work brings to light a multicultural cosmopolitan society, enriched by outside contributions. Combining artistic and documentary photography, his work is a testimony to his underlying interest in storytelling.
His works were shown in several group shows amongst which are Photocity Brussels, BE (2021), naitre.aux.mondes, FR (2021), Kiosk Gent, BE (2021), Tiff, Photo Museum of Antwerp (Fomu), BE (2022), Tiff, Brakkegrond, NL (2022) as well as Youth, Centre Culturel Jacques Franck Brussels, BE (2022). In 2022 his solo exhibition Hooyo was shown in gallery Thatswhatxsaid, BE (2021).
AVAH Collective
AVAH (Afghan Visual Arts & History) is an independent curatorial research collective. The group came together upon recognising a lack of obtainable information and long-term initiatives concerning the historical and contemporary practices originating in or relating to Afghanistan. Through gathering art histories, contextualising practices, and creating a professional network – they aim to establish critical resources that will aid in understanding the past and equip the current generation of artists and cultural practitioners both in and out of the country. The collective has worked with the HKW in Berlin, the Schirnkunsthalle in Frankfurt, ARD Kultur, Hfbk in Hamburg, Haus Coburg in Delmenhorst, Media Art South Asia, Simurgh Centre in New Delhi, Mosaic Rooms and BFI Southbank in London and Void Gallery in Derry, Ireland.
curators: Bettina Freimann and Sithara Pathirana
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18.06, 13:00 guided tour | language: English
With the support of the Swiss Arts Council Pro Helvetia
Special patronage of the exhibition
