\n<\/strong>Stockholm
\nExhibition<\/p>\n
Opening August 24, 2018, 6pm
\nAugust 25 \u2013 October 28, 2018<\/p>\n
Curated by<\/strong> How to decolonize time? The exhibition A Debt of Times is an ongoing research on temporal extractivism<\/span>4<\/sup><\/a><\/span>. Or how modernity has decreed a series of time debts. On the one hand, by constructing historical time as a measure of cultural distance and by giving a supposed fundamental delay to the extra-western geographies they should strive to fill, relegated to the \u201cwaiting room of history\u201d <\/span>5<\/sup><\/a><\/span>. In Europe, debt crises, but also memorialism and commemorative obsession have also led to socially mortgage future times and we are exercising a real temporal expropriation over generations to come. In the form of a chronopolitical series, and a global survey, the installation \u201cThe Impatients\u201d, is an attempt to collect non-aligned temporalities as well as several strategies that aim to cancel the debt of time. Financial crises in the Midwest (Detroit \/ Chicago) at NuitDebout who stopped the calendar to better suspend the time of production and \u201cthe institutions of temporal sequestration\u201d, in Dakar, where the economist Felwine Sarr dismantles the dogmas of the development economy and announces that Africa is not lagging behind, but has other, more crucial challenges, including making this Afrotopos, \u201cthis place not yet inhabited by this coming Africa.\u201d With the artworks by\u00a0Aliocha Imhoff & Kantuta Quir\u00f3s \/\u00a0Krista Franklin \/ Joshua Rios \/\u00a0Mawena Yehouessi<\/strong> Press reviews :<\/strong><\/p>\n –\u00a0<\/em>Kunstkritikk<\/strong><\/a>,<\/strong>\u00a0En ny tider\u00e4kning b\u00f6rjar nu<\/em><\/a>, par Lars-Erik Hjertstr\u00f6m Lappalainen, 4.09.2018 (version su\u00e9doise)<\/a> Joshua Rios<\/strong> Krista Franklin<\/strong> Mawena Yehouessi<\/strong> (1990, Cotonou). With a double background in Contemporary Philosophy of Aesthetics ( Paris 1, Pantheon-Sorbonne) and then CULTURAL Projects Management ( IEE, Paris 8\/ GIOCA, Bologna), she is at the origin of the Collective Black(s) to the Future and is a PhD candidate in Phenomenology around the notions of Afrofuturism and Trans-Worldliness. As a curator and project manager, she has collaborated With institutions such as MAC\/VAL, Quai Branly Museum, Ricard Corporate Foundation, Betonsalon art& research center, The International College of Philosophy & Black Lives Matter, Harvard, NYU, Tisch School of the Arts & Jerome Sans. Her persona, M.Y., manipulates images, words and choreography\/performance.<\/p>\n Konsthall C<\/strong><\/a> Exhibition
\nle peuple qui manque \/ a people is missing
\n(Aliocha Imhoff & Kantuta Quir\u00f3s)<\/p>\n
\nEn \u00e9toilement autour de l\u2019installation \u00ab Les Impatients \u00bb, un lexique temporel, des collages, livres d\u2019artistes, pi\u00e8ces graphiques, creusent plusieurs hypoth\u00e8ses de futurs non-align\u00e9s, qui mettent \u00e0 mal cette dette de temps, hypoth\u00e8ses afrofuturistes, afrosurr\u00e9alistes ou chicanofuturistes<\/span>6<\/sup><\/a><\/span> d\u00e9pli\u00e9es dans la s\u00e9rie \u00ab Les Impatients \u00bb autant que dans les pi\u00e8ces de Krista Franklin, Joshua Rios (\u00e9galement acteurs dans la s\u00e9rie) et Mawena Yehouessi.<\/p>\n
\nAnd a performance during the opening by\u00a0Fatima Moallim<\/strong>
\nAnd many documents.
\nTo read more about the film\u00a0Les Impatients<\/strong><\/em><\/a><\/p>\n
\n–\u00a0<\/em>Kunstkritikk,<\/strong> A New Calendar <\/em>, par Lars-Erik Hjertstr\u00f6m Lappalainen, 4.09.2018 (version anglaise)<\/a>
\n<\/u><\/em><\/strong>– <\/em>Dagens Nyheter,<\/strong><\/a> En ockupation av sj\u00e4lva tiden p\u00e5 Konsthall C<\/u><\/em>, par Frida Sandstr\u00f6m, 05.09.2018
\n– Feministisk Perspektiv<\/strong>,<\/a>Tiden som skuld \u2013 om r\u00e4tten till en egen historia och framtid<\/em>,\u00a0entretien avec Aliocha Imhoff & Kantuta Quiros par Amanda Ferrada, 26.10.2018<\/a><\/u><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row][vc_row type=”full_width_content” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_gallery type=”flickity_static_height_style” images=”3065,3066,3105,3084,3080,3074″ flickity_spacing=”default” flickity_controls=”pagination” flickity_overflow=”hidden” flickity_wrap_around=”wrap” flickity_autoplay=”true” flickity_box_shadow=”none” image_loading=”default” onclick=”link_image” img_size=”full”][divider line_type=”No Line”][vc_gallery type=”flickity_static_height_style” images=”3400,3389,3390,3387,3392,3395,3396,3394,3399,3397,3391″ flickity_spacing=”default” flickity_controls=”pagination” flickity_overflow=”hidden” flickity_wrap_around=”wrap” flickity_autoplay=”true” flickity_box_shadow=”none” image_loading=”default” onclick=”link_image” img_size=”full”][\/vc_column][\/vc_row][vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” top_padding=”4%” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none” gradient_type=”default” shape_type=””][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n
\nJosh Rios is faculty at the School of the Art Institute of Chicago, where he teaches courses in visual and critical studies, political science fiction, and institutional critique. As an artist and scholar, his projects deal with the intersection of globalization, modernity, postmodernity, and neocoloniality along the US-Mexico border. Recent projects and presentations have been featured at The Bemis Center for Contemporary Arts (Omaha), the University of Houston (Houston), and Andrea Meislin Gallery (NYC). Upcoming activities include a performance for the Mountain Standard Time Performance Festival (Calgary, Canada), the Truth and Reconciliation Residency at the Santa Fe Art Institute (Santa Fe), and a long-term sound project made possible by a Boston Live Arts Grant (Boston).
\nOutfits for a Science Fiction Space Opera<\/strong> is an ongoing series of collages (2017-present) that function as speculative costume designs for a sci-fi rock opera staged in 1976 by Chicana\/o high school students in Crystal City, Texas. The student play, Stranger in a Strange Land, drew upon a wide range of influences, including science fiction literature and the musical personas of David Bowie.
\nLightning Snatched from the Tyrant of Time<\/strong> is an ongoing series of collages (2017-present) that combine images of Chicana\/o civil rights history with language items taken from the comic book, Aztec Ace (1984 -1985). The text and images deal with such issues as historicism, anachronism, temporal displacement, belatedness, return, delay, synchronism, and the relation between the past, the present, and the future.<\/p>\n![\"the](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2018\/08\/KFranklin_thelastplacetheythoughtof_2-282x300.jpg\")
<\/a><\/p>\n
\nKrista Franklin is a writer and artist whose work has published in multiple literary journals, anthologies, and book covers. She is the author of Study of Love & Black Body (Willow Books, 2012) and the forthcoming Under the Knife (Candor Arts, 2018). Her visual art has exhibited at The Studio Museum in Harlem, National Museum of Mexican Art, and on 20th Century Fox television series Empire. Krista Franklin is also one of the main character from Les Impatients by Aliocha Imhoff & Kantuta Quiros.
\n\u201cMy work emerges at the intersection of poetics, popular culture, and the dynamic histories of the African Diaspora. The Fantastic, the surreal, mythmaking, black portraiture, and the collective conscious are conceptual preoccupations of my work. The forms take shape in collage, hand papermaking, installation, poetry, letterpress, altered bookmaking and performance. I appropriate image and text as a political gesture that chisels away at the narratives historically inscribed on women and people of color, and forges imaginative spaces for radical possibilities and visions. Black ritual, the metaphysical and the black nostalgic are core concerns in my art practice. I orchestrate the collision of past, present and future, and mine historical and fictional memory for artistic content. Artist books inspired by the novels of science fiction author Octavia E. Butler, altered books in aquariums, and handmade paper formed with mixed media are a few examples of my artistic output. I drag racialized and gendered past(s) into my work in order to reframe and realign the dynamic psychological and physical experiences of the African Diaspora in the 21st Century. The collective and collaborative are also central to my work. I cultivate artistic community with fellow artists, writers and scholars. This materializes in a diversity of projects from sonic\/music collaborations to book and exhibition making, and salons that are committed to the development of ideas and concepts. It is a vital practice for me, and a continuous undercurrent that fosters the advancement of creative liberation, reflection, scholarship and artistic communion.\u201d<\/p>\n![\"Mawena](\"https:\/\/www.lepeuplequimanque.org\/wp-content\/uploads\/2018\/08\/Capture-d\u2019e\u0301cran-2018-07-12-a\u0300-17.45.30-223x300.png\")
<\/a><\/p>\n
\nThe art centre Konsthall C is a public work of art; a project of urban renewal; and an art institution situated in H\u00f6kar\u00e4ngen in Stockholm. Konsthall C works for a democratic society based on values of diversity, equality and solidarity both in its organisation and in the content of its programmes. Over the ten years since it began in 2004 it has consistently produced high quality, significant exhibitions and events both locally and internationally. Konsthall C is a non-profit organisation, structured in the form of an association.
\nAddress: Cigarrv\u00e4gen 14, S\u2013123 57 Farsta, Stockholm
\nhttps:\/\/www.konsthallc.se\/<\/a>
\n<\/span><\/p>\n[\/vc_column_text][\/vc_column][\/vc_row]","protected":false},"excerpt":{"rendered":"
\nKonsthall C, Stockholm, 2018
\nAliocha Imhoff & Kantuta Quir\u00f3s \/ Krista Franklin \/ Joshua Rios \/ Mawena Yehouessi<\/p>\n","protected":false},"author":1,"featured_media":3066,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[42,31],"tags":[14],"class_list":{"0":"post-3064","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-2015-2019","8":"category-curating","9":"tag-archives"},"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/3064","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/comments?post=3064"}],"version-history":[{"count":0,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/3064\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media\/3066"}],"wp:attachment":[{"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media?parent=3064"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/categories?post=3064"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/tags?post=3064"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}