Exhibition series Izwe: Plant Praxis

Detail of Isabel Katjavivi's Installation “Unearthing”
Detail of Isabel Katjavivi's Installation “Unearthing” | Photo (detail): Masimba Sasa
  • 28. March 2019 — 29. February 2020

  • Postcolonial world order, Postcolonial art production

  • Windhoek (Namibia); Johannesburg (South Africa)

MADEYOULOOK – a Johannesburg based interdisciplinary artist collaborative between Nare Mokgotho and Molemo Moiloa – brings into conversation, artists whose work explores the manifold psycho-social elements of land politics in the form of an exhibition series “Izwe: Plant Praxis“.

The first exhibition “Territorios”, explored questions of rural and urban territory for land workers and for artists in Johannesburg, Bogota, Mexico City, Bamako, Douala and Bishkek. The sociability of decolonial relationships to plant life and land, and potential learnings from the global south for South Africa’s land debates, is considered.

The second installation “Unearthing” featured the work of Isabel Tueumuna Katjavivi, who explores soil as an entity that retains memory and stands witness, in remembrance to those killed in the OvaHerero and Nama Genocides in Namibia during the colonial period. Katjavivi considers the contemporary resonances of dispossession and trauma in today’s Namibia.

The third show “Trees, Vines, Palms and Other Architectural Monuments” is by Paulo Tavares (Brazil) who conducted research to map sites of Xavante villages to provide evidence of their existence prior to dispossession. Trees that grew out of the former villages provide botanic formations as archaeological sites that start to probe relations between natural and cultural landscapes and systems of knowledge.

The final exhibition is of Sangwoodgoon's Farmers Almanac and other projects. Sangwoodgoon are an artist/farmers collective in Hong Kong that challenge the neo-liberalisation of all forms of Hong Kong life and claim space for food production and sociality the emerges through the land.
 
Video zur Ausstellung „Territorios“
© Mdumisi Nxele