Triangle Trade explores the artists’, all three of whom are of African descent, relationship to the territory and their sense of belonging. The 14-minute video was the result of a year-long cross-border conversation between the United States and Canada.
Juxtaposing portraits of soldiers during the First World War and photographs of objects restored in the warehouses of African museums, this dyptic allows Kader Attia to examine the complex relations between East and West. In it, the artist explores the "restoration" of the human body, comparing it to the concept of "repair" in extra-Occidental cultures.
The Ellas series, to which this photograph belongs, features women portrayed in ambivalent poses and with exaggerated casualness. It seeks to provoke a critical view of the very concept of femininity andthe objectification of women’s bodies.
In La Libertad, Laura Huertas Millán follows a group of Mexican weavers who use a pre-Hispanic technique that has been preserved for centuries. The film explores the links between craft and freedom.
With the photographic series Fortia ("strength"), Lola Keyezua depicts a mysterious empress wearing masks, made in collaboration with a group of disabled artisans in Luanda, Angola. The artist seeks to transform our view of physical disability.
By hijacking the processes of ethnographic photography, the artist makes its human subjects invisible, Tanzanian traders who are nevertheless present behind the fronts of their businesses.
Human subjects sit behind a white sheet that simultaneously functions as a screen, frame, and backdrop against which to evaluate trading relationships.
With the “Phenomena” exhibition, Marina Gadonneix explores avalanches, black holes and hurricanes by capturing scientific replicas. The artist examines the theatricality of the laboratory, a place of experimentation where the world is constantly replayed.