<\/p>\n
In \u201cEvery Mask I Ever Loved<\/em>\u201d Wura-Natasha Ogunji presents a series of newly commissioned drawings and performances \u2013 including re-creations of her performances \u201cSweep<\/em>\u201d, \u201cThe Kissing Mask<\/em>\u201d, and \u201cIf I loved you<\/em>\u201d \u2013 thereby continuing her exploration of the presence of women in both public and private space. Alongside the programme of performances, the exhibition consists of a display of works \u2013 textile masks and video \u2013 that are instrumental within the performances or act as echoes of it.<\/p>\n Ogunji\u2019s practice \u2013 through drawings (comprised of hand-stitched figures on architectural trace paper), video and performance art \u2013 explores physicality, endurance and gestures of the body; our relationship to geographical, architectural and filmic space; as well as memory and history. Many of her performances highlight the relationship between the body and social power and presence, investigating how women, in particular, occupy space through both epic and ordinary actions.<\/p>\n Splitting her time between Austin and Lagos for many years, Ogunji was deeply influenced by her experience of living between two countries and, more recently, of residing in Lagos. \u201cSweep\u201d was originally performed during Ogunji\u2019s first visit to Nigeria. As she explains, she wanted the land to remember her presence. She has since performed \u201cSweep\u201d in different contexts and countries, deepening her thinking about the presence of women within those societies, and exploring the notion of homeland and diasporic identity. \u201cThe Kissing Mask\u201d and \u201cIf I loved you\u201d are ways to experiment with notions of self-consciousness, intimacy and privacy, and what one could call \u201cthe limits of empathy and identification.\u201d (Kathy-Ann Tan, 2016).<\/p>\n Being the third chapter, dedicated to feminisms, of Untie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong><\/a>, the accompanying programme of the exhibition is thought of as an opportunity to remember that there are \u201cstriking parallels between sexual violence against individual women and neo-colonial violence against people and nations\u201d (Angela Davis, 1985). It also wishes to question the notion of women\u2019s rights in a postcolonial context; these being still very much defined only by some. \u201cEvery Mask I Ever Loved<\/em>\u201d presents a moment to re-think feminisms transnationally, and acts as a call, as explored by Ogunji, to consider geographic presence and specificity, and individual narratives.<\/p>\n Curated by Eva Barois De Caevel<\/a><\/p>\n .<\/strong><\/p>\n Opening Weekend<\/strong><\/p>\n Thursday, 28 September:<\/strong> Friday, 29 September:<\/strong> Saturday, 30 September .<\/p>\n Saturday, 13 January,\u00a0<\/strong> 2pm Performance: Wura-Natasha Ogunji \u00ab\u00a0The Kissing Mask\u00a0\u00bb 2:30pm Discussion with the performers<\/p>\n 3pm Lecture by Eva Barois De Caevel: \u00ab\u00a0Acting Decolonially \u2013 From Adrian To Zora \u2013 Black Women Performing\u00a0\u00bb (EN) 3:30pm Coffee break<\/p>\n 4pm Kathy-Ann Tan and Wura-Natasha Ogunji in conversation: \u00ab\u00a0Performance, Masking and ‘the limits of empathy and identification\u2019\u00a0\u00bb (EN)<\/p>\n .<\/p>\n <\/p>\n Wura-Natasha Ogunji<\/strong> (b.1970 in St. Louis, USA, based in Lagos, Nigeria) holds a BA in Anthropology from Stanford University and an MFA in Photography from San Jose State University. She is a recipient of the prestigious John Simon Guggenheim Memorial Foundation Fellowship and has received grants from the National Performance Network, The Pollock-Krasner Foundation, The Dallas Museum of Art and the Idea Fund.<\/p>\n With the programme \u201cUntie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong>\u00ab\u00a0, the ifa Gallery Berlin invites to reflect on the impacts of colonial legacies which continue to globally influence contemporary realities and everyday life. From April 2017 to April 2018, four chapters will address this topic through different lenses: global relatedness, urban cultures, intersectional feminism, and a closing chapter dedicated to riots and resistance.<\/p>\n Chapter 1: Global Relatedness Chapter 2: Urban Cultures Chapter 3: Intersectional Feminisms Chapter 4: On Riots and Resistance untietotie.org<\/a><\/p>\n <\/p>","protected":false},"featured_media":23459,"comment_status":"closed","ping_status":"closed","template":"","meta":{"_acf_changed":false,"exh_abstract":"","exh_gallery":"ifa Gallery","exh_city":"Berlin","exh_country":"germany","exh_startdate":"20170928","exh_enddate":"20180114","exh_caption":"","exh_slideshow":"","exh_sidebarposts1":"","exh_sidebarposts2":"","exh_sidebarposts3":"","exh_sidebarposts4":"","exh_relatedcontent1":0,"exh_relatedcontent2":0,"exh_relatedcontent3":0,"exh_relatedcontent4":0,"exh_relatedcontent5":0,"exh_relatedcontent6":0,"exh_relatedcontent7":0,"exh_relatedcontent8":0,"_thumbnail_id":23459,"_exhibition_photo":0,"_links_to":"","_links_to_target":""},"tags":[408,3070,136],"exhibition-type":[6],"opportunity-type":[],"class_list":["post-23458","exhibition","type-exhibition","status-publish","has-post-thumbnail","hentry","tag-ifa-gallery-berlin","tag-untie-to-tie-on-colonial-legacies-and-contemporary-societies","tag-wura-natasha-ogunji","exhibition-type-exhibitions"],"core_raw":{"post_title":"Wura-Natasha Ogunji:\u00a0Every Mask I Ever Loved","post_content":"[:de] In \u201cEvery Mask I Ever Loved<\/em>\u201d Wura-Natasha Ogunji presents a series of newly commissioned drawings and performances \u2013 including re-creations of her performances \u201cSweep<\/em>\u201d, \u201cThe Kissing Mask<\/em>\u201d, and \u201cIf I loved you<\/em>\u201d \u2013 thereby continuing her exploration of the presence of women in both public and private space. Alongside the programme of performances, the exhibition consists of a display of works \u2013 textile masks and video \u2013 that are instrumental within the performances or act as echoes of it.<\/p>\r\n Ogunji\u2019s practice \u2013 through drawings (comprised of hand-stitched figures on architectural trace paper), video and performance art \u2013 explores physicality, endurance and gestures of the body; our relationship to geographical, architectural and filmic space; as well as memory and history. Many of her performances highlight the relationship between the body and social power and presence, investigating how women, in particular, occupy space through both epic and ordinary actions.<\/p>\r\n Splitting her time between Austin and Lagos for many years, Ogunji was deeply influenced by her experience of living between two countries and, more recently, of residing in Lagos. \u201cSweep\u201d was originally performed during Ogunji\u2019s first visit to Nigeria. As she explains, she wanted the land to remember her presence. She has since performed \u201cSweep\u201d in different contexts and countries, deepening her thinking about the presence of women within those societies, and exploring the notion of homeland and diasporic identity. \u201cThe Kissing Mask\u201d and \u201cIf I loved you\u201d are ways to experiment with notions of self-consciousness, intimacy and privacy, and what one could call \u201cthe limits of empathy and identification.\u201d (Kathy-Ann Tan, 2016).<\/p>\r\n Being the third chapter, dedicated to feminisms, of Untie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong><\/a>, the accompanying programme of the exhibition is thought of as an opportunity to remember that there are \u201cstriking parallels between sexual violence against individual women and neo-colonial violence against people and nations\u201d (Angela Davis, 1985). It also wishes to question the notion of women\u2019s rights in a postcolonial context; these being still very much defined only by some. \u201cEvery Mask I Ever Loved<\/em>\u201d presents a moment to re-think feminisms transnationally, and acts as a call, as explored by Ogunji, to consider geographic presence and specificity, and individual narratives.<\/p>\r\nCurated by Eva Barois De Caevel<\/a>\r\n .<\/strong><\/p>\r\n Opening Weekend<\/strong><\/p>\r\n Thursday, 28 September:<\/strong>\r\nOpening with Performance \u201cThe Kissing Mask\u201d, 7 pm<\/p>\r\n Friday, 29 September:<\/strong>\r\nPerformance \u201cIf I loved you\u201d, 6 pm\r\nArtist\u2019s and Curator\u2019s Talk, 7 pm<\/p>\r\n Saturday, 30 September\r\n<\/strong>Performance \u201cSweep\u201d, 3 pm<\/p>\r\n .<\/p>\r\n Saturday, 13 January,\u00a0<\/strong>\r\nFinissage\u00a0from 2 pm<\/strong>\r\n\"An Afternoon with the Masks\"\r\nPerformance, discussion, lecture, conversation with Wura-Natasha Ogunji, Eva Barois De Caevel, Kathy-Ann Tan et al.<\/p>\r\n 2pm Performance: Wura-Natasha Ogunji \"The Kissing Mask\"\r\n\u201eThe Kissing Mask \u201cis\u202f<\/span>inspired by one of ruby onyinyechi amanze's drawings titled: \u201ethat low hanging kind of sun, the one that lingers two feet above your head, (never dying) house plants in exchange for your freedom...orchids in exchange for your love, who are you kissing, when you kiss a mask?\u201c\u202f<\/span>\r\nThe kissing Mask reconnects the 'artifact' to the present moment by proposing an intimate act between artist, mask and viewer.\r\n\r\n2:30pm Discussion with the performers\r\n\r\n3pm Lecture by Eva Barois De Caevel: \"Acting Decolonially \u2013 From Adrian To Zora \u2013 Black Women Performing\" (EN)\r\nAn art history journey through works by Black African, American, and European women artists from the 20th and 21st centuries whose \u202f<\/span>performances\u202f<\/span> (in a broad sense) disrupted colonial thought. Starting with Adrian Piper and her \u202f<\/span>Calling Cards\u202f<\/span>, ending with Zora Neale Hurston and her dance stagings, meeting Grace Jones\u2019s boldness on the way.\r\n\r\n3:30pm Coffee break\r\n\r\n4pm Kathy-Ann Tan and Wura-Natasha Ogunji in conversation: \"Performance, Masking and 'the limits of empathy and identification\u2019\" (EN)\r\n<\/p>\r\n.\r\n\r\n \r\n\r\n Wura-Natasha Ogunji<\/strong> (b.1970 in St. Louis, USA, based in Lagos, Nigeria) holds a BA in Anthropology from Stanford University and an MFA in Photography from San Jose State University. She is a recipient of the prestigious John Simon Guggenheim Memorial Foundation Fellowship and has received grants from the National Performance Network, The Pollock-Krasner Foundation, The Dallas Museum of Art and the Idea Fund.<\/p>\r\n With the programme \u201cUntie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong>\", the ifa Gallery Berlin invites to reflect on the impacts of colonial legacies which continue to globally influence contemporary realities and everyday life. From April 2017 to April 2018, four chapters will address this topic through different lenses: global relatedness, urban cultures, intersectional feminism, and a closing chapter dedicated to riots and resistance.<\/p>\r\n Chapter 1: Global Relatedness\r\n31.3.-11.6.2017<\/p>\r\n Chapter 2: Urban Cultures\r\n23.6.-17.9.2017<\/p>\r\n Chapter 3: Intersectional Feminisms\r\n29.9.2017-14.1.2018<\/p>\r\n Chapter 4: On Riots and Resistance\r\n26.1.-1.4.2018<\/p>\r\n untietotie.org<\/a><\/p>[:en] In \u201cEvery Mask I Ever Loved<\/em>\u201d Wura-Natasha Ogunji presents a series of newly commissioned drawings and performances \u2013 including re-creations of her performances \u201cSweep<\/em>\u201d, \u201cThe Kissing Mask<\/em>\u201d, and \u201cIf I loved you<\/em>\u201d \u2013 thereby continuing her exploration of the presence of women in both public and private space. Alongside the programme of performances, the exhibition consists of a display of works \u2013 textile masks and video \u2013 that are instrumental within the performances or act as echoes of it.<\/p>\r\n Ogunji\u2019s practice \u2013 through drawings (comprised of hand-stitched figures on architectural trace paper), video and performance art \u2013 explores physicality, endurance and gestures of the body; our relationship to geographical, architectural and filmic space; as well as memory and history. Many of her performances highlight the relationship between the body and social power and presence, investigating how women, in particular, occupy space through both epic and ordinary actions.<\/p>\r\n Splitting her time between Austin and Lagos for many years, Ogunji was deeply influenced by her experience of living between two countries and, more recently, of residing in Lagos. \u201cSweep\u201d was originally performed during Ogunji\u2019s first visit to Nigeria. As she explains, she wanted the land to remember her presence. She has since performed \u201cSweep\u201d in different contexts and countries, deepening her thinking about the presence of women within those societies, and exploring the notion of homeland and diasporic identity. \u201cThe Kissing Mask\u201d and \u201cIf I loved you\u201d are ways to experiment with notions of self-consciousness, intimacy and privacy, and what one could call \u201cthe limits of empathy and identification.\u201d (Kathy-Ann Tan, 2016).<\/p>\r\n Being the third chapter, dedicated to feminisms, of Untie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong><\/a>, the accompanying programme of the exhibition is thought of as an opportunity to remember that there are \u201cstriking parallels between sexual violence against individual women and neo-colonial violence against people and nations\u201d (Angela Davis, 1985). It also wishes to question the notion of women\u2019s rights in a postcolonial context; these being still very much defined only by some. \u201cEvery Mask I Ever Loved<\/em>\u201d presents a moment to re-think feminisms transnationally, and acts as a call, as explored by Ogunji, to consider geographic presence and specificity, and individual narratives.<\/p>\r\nCurated by Eva Barois De Caevel<\/a>\r\n .<\/strong><\/p>\r\n Opening Weekend<\/strong><\/p>\r\n Thursday, 28 September:<\/strong>\r\nOpening with Performance \u201cThe Kissing Mask\u201d, 7 pm<\/p>\r\n Friday, 29 September:<\/strong>\r\nPerformance \u201cIf I loved you\u201d, 6 pm\r\nArtist\u2019s and Curator\u2019s Talk, 7 pm<\/p>\r\n Saturday, 30 September\r\n<\/strong>Performance \u201cSweep\u201d, 3 pm<\/p>\r\n .<\/p>\r\n Saturday, 13 January,\u00a0<\/strong>\r\nFinissage\u00a0from 2 pm<\/strong>\r\n\"An Afternoon with the Masks\"\r\nPerformance, discussion, lecture, conversation with Wura-Natasha Ogunji, Eva Barois De Caevel, Kathy-Ann Tan et al.<\/p>\r\n 2pm Performance: Wura-Natasha Ogunji \"The Kissing Mask\"\r\n\u201eThe Kissing Mask \u201cis\u202f<\/span>inspired by one of ruby onyinyechi amanze's drawings titled: \u201ethat low hanging kind of sun, the one that lingers two feet above your head, (never dying) house plants in exchange for your freedom...orchids in exchange for your love, who are you kissing, when you kiss a mask?\u201c\u202f<\/span>\r\nThe kissing Mask reconnects the 'artifact' to the present moment by proposing an intimate act between artist, mask and viewer.\r\n\r\n2:30pm Discussion with the performers\r\n\r\n3pm Lecture by Eva Barois De Caevel: \"Acting Decolonially \u2013 From Adrian To Zora \u2013 Black Women Performing\" (EN)\r\nAn art history journey through works by Black African, American, and European women artists from the 20th and 21st centuries whose \u202f<\/span>performances\u202f<\/span> (in a broad sense) disrupted colonial thought. Starting with Adrian Piper and her \u202f<\/span>Calling Cards\u202f<\/span>, ending with Zora Neale Hurston and her dance stagings, meeting Grace Jones\u2019s boldness on the way.\r\n\r\n3:30pm Coffee break\r\n\r\n4pm Kathy-Ann Tan and Wura-Natasha Ogunji in conversation: \"Performance, Masking and 'the limits of empathy and identification\u2019\" (EN)<\/p>\r\n.\r\n\r\n \r\n\r\n Wura-Natasha Ogunji<\/strong> (b.1970 in St. Louis, USA, based in Lagos, Nigeria) holds a BA in Anthropology from Stanford University and an MFA in Photography from San Jose State University. She is a recipient of the prestigious John Simon Guggenheim Memorial Foundation Fellowship and has received grants from the National Performance Network, The Pollock-Krasner Foundation, The Dallas Museum of Art and the Idea Fund.<\/p>\r\n With the programme \u201cUntie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong>\", the ifa Gallery Berlin invites to reflect on the impacts of colonial legacies which continue to globally influence contemporary realities and everyday life. From April 2017 to April 2018, four chapters will address this topic through different lenses: global relatedness, urban cultures, intersectional feminism, and a closing chapter dedicated to riots and resistance.<\/p>\r\n Chapter 1: Global Relatedness\r\n31.3.-11.6.2017<\/p>\r\n Chapter 2: Urban Cultures\r\n23.6.-17.9.2017<\/p>\r\n Chapter 3: Intersectional Feminisms\r\n29.9.2017-14.1.2018<\/p>\r\n Chapter 4: On Riots and Resistance\r\n26.1.-1.4.2018<\/p>\r\n untietotie.org<\/a><\/p>[:fr] In \u201cEvery Mask I Ever Loved<\/em>\u201d Wura-Natasha Ogunji presents a series of newly commissioned drawings and performances \u2013 including re-creations of her performances \u201cSweep<\/em>\u201d, \u201cThe Kissing Mask<\/em>\u201d, and \u201cIf I loved you<\/em>\u201d \u2013 thereby continuing her exploration of the presence of women in both public and private space. Alongside the programme of performances, the exhibition consists of a display of works \u2013 textile masks and video \u2013 that are instrumental within the performances or act as echoes of it.<\/p>\r\n Ogunji\u2019s practice \u2013 through drawings (comprised of hand-stitched figures on architectural trace paper), video and performance art \u2013 explores physicality, endurance and gestures of the body; our relationship to geographical, architectural and filmic space; as well as memory and history. Many of her performances highlight the relationship between the body and social power and presence, investigating how women, in particular, occupy space through both epic and ordinary actions.<\/p>\r\n Splitting her time between Austin and Lagos for many years, Ogunji was deeply influenced by her experience of living between two countries and, more recently, of residing in Lagos. \u201cSweep\u201d was originally performed during Ogunji\u2019s first visit to Nigeria. As she explains, she wanted the land to remember her presence. She has since performed \u201cSweep\u201d in different contexts and countries, deepening her thinking about the presence of women within those societies, and exploring the notion of homeland and diasporic identity. \u201cThe Kissing Mask\u201d and \u201cIf I loved you\u201d are ways to experiment with notions of self-consciousness, intimacy and privacy, and what one could call \u201cthe limits of empathy and identification.\u201d (Kathy-Ann Tan, 2016).<\/p>\r\n Being the third chapter, dedicated to feminisms, of Untie to Tie \u2013 On Colonial Legacies and Contemporary Societies<\/strong><\/a>, the accompanying programme of the exhibition is thought of as an opportunity to remember that there are \u201cstriking parallels between sexual violence against individual women and neo-colonial violence against people and nations\u201d (Angela Davis, 1985). It also wishes to question the notion of women\u2019s rights in a postcolonial context; these being still very much defined only by some. \u201cEvery Mask I Ever Loved<\/em>\u201d presents a moment to re-think feminisms transnationally, and acts as a call, as explored by Ogunji, to consider geographic presence and specificity, and individual narratives.<\/p>\r\nCurated by Eva Barois De Caevel<\/a>\r\n .<\/strong><\/p>\r\n Opening Weekend<\/strong><\/p>\r\n Thursday, 28 September:<\/strong>\r\nOpening with Performance \u201cThe Kissing Mask\u201d, 7 pm<\/p>\r\n Friday, 29 September:<\/strong>\r\nPerformance \u201cIf I loved you\u201d, 6 pm\r\nArtist\u2019s and Curator\u2019s Talk, 7 pm<\/p>\r\n Saturday, 30 September\r\n<\/strong>Performance \u201cSweep\u201d, 3 pm<\/p>\r\n .<\/p>\r\n Saturday, 13 January,\u00a0<\/strong>\r\nFinissage\u00a0from 2 pm<\/strong>\r\n\"An Afternoon with the Masks\"\r\nPerformance, discussion, lecture, conversation with Wura-Natasha Ogunji, Eva Barois De Caevel, Kathy-Ann Tan et al.<\/p>\r\n 2pm Performance: Wura-Natasha Ogunji \"The Kissing Mask\"\r\n\u201eThe Kissing Mask \u201cis\u202f<\/span>inspired by one of ruby onyinyechi amanze's drawings titled: \u201ethat low hanging kind of sun, the one that lingers two feet above your head, (never dying) house plants in exchange for your freedom...orchids in exchange for your love, who are you kissing, when you kiss a mask?\u201c\u202f<\/span>\r\nThe kissing Mask reconnects the 'artifact' to the present moment by proposing an intimate act between artist, mask and viewer.\r\n\r\n2:30pm Discussion with the performers\r\n\r\n3pm Lecture by Eva Barois De Caevel: \"Acting Decolonially \u2013 From Adrian To Zora \u2013 Black Women Performing\" (EN)\r\nAn art history journey through works by Black African, American, and European women artists from the 20th and 21st centuries whose \u202f<\/span>performances\u202f<\/span> (in a broad sense) disrupted colonial thought. Starting with Adrian Piper and her \u202f<\/span>Calling Cards\u202f<\/span>, ending with Zora Neale Hurston and her dance stagings, meeting Grace Jones\u2019s boldness on the way.\r\n\r\n3:30pm Coffee break\r\n\r\n4pm Kathy-Ann Tan and Wura-Natasha Ogunji in conversation: \"Performance, Masking and 'the limits of empathy and identification\u2019\" (EN)<\/p>\r\n.\r\n\r\n \r\n\r\n
\nOpening with Performance \u201cThe Kissing Mask\u201d, 7 pm<\/p>\n
\nPerformance \u201cIf I loved you\u201d, 6 pm
\nArtist\u2019s and Curator\u2019s Talk, 7 pm<\/p>\n
\n<\/strong>Performance \u201cSweep\u201d, 3 pm<\/p>\n
\nFinissage\u00a0from 2 pm<\/strong>
\n\u00ab\u00a0An Afternoon with the Masks\u00a0\u00bb
\nPerformance, discussion, lecture, conversation with Wura-Natasha Ogunji, Eva Barois De Caevel, Kathy-Ann Tan et al.<\/p>\n
\n\u201eThe Kissing Mask \u201cis\u202f<\/span>inspired by one of ruby onyinyechi amanze’s drawings titled: \u201ethat low hanging kind of sun, the one that lingers two feet above your head, (never dying) house plants in exchange for your freedom…orchids in exchange for your love, who are you kissing, when you kiss a mask?\u201c\u202f<\/span>
\nThe kissing Mask reconnects the ‘artifact’ to the present moment by proposing an intimate act between artist, mask and viewer.<\/p>\n
\nAn art history journey through works by Black African, American, and European women artists from the 20th and 21st centuries whose \u202f<\/span>performances\u202f<\/span> (in a broad sense) disrupted colonial thought. Starting with Adrian Piper and her \u202f<\/span>Calling Cards\u202f<\/span>, ending with Zora Neale Hurston and her dance stagings, meeting Grace Jones\u2019s boldness on the way.<\/p>\n
\n
\n31.3.-11.6.2017<\/p>\n
\n23.6.-17.9.2017<\/p>\n
\n29.9.2017-14.1.2018<\/p>\n
\n26.1.-1.4.2018<\/p>\n
\r\n
\r\n
\r\n