The curatorial challenge Simon Njami set for himself when conceptualizing the exhibition “Afriques Capitales“[“Capital Africas”] was to provide a discursive, dialogical space where contemporary visual artists from continental Africa and the wider global African diaspora(s) could come together to “invent the city of all cities: a city that belongs to no one but in which everyone can find their own personal bearings” (Njami, 2017: 19).
The results of this creative, cross-cultural and pluralist dialogue manifested in the form of a large-scale, international group show of contemporary visual art presented in two episodes (or “chapters”) across expansive exhibition spaces in Paris and Lille:
The first phase (or “Chapter 1”) comprised more than 100 works by 50 artists at the Grande Halle de la Villette in Paris – sub-themed “Afriques Capitales, Métropolis: C’est beau une ville la nuit” and “Intermezzo: un projet stéréophonique, ” 23 March – 28 May 2017 (discussed in further detail, below).
The second episode (or “Chapter 2”) – titled, “Afriques Capitales: Vers le Cap de Bonne-Espérance” / “Capital Africas: From Lille to the Cape of Good Hope” – displayed work by a further 20 artists, combined with additional works by 12 of the same participants from the Paris strand of the exhibition, presented at the Gare Saint Sauveur in Lille (discussed and illustrated online at: http://www.lille3000.eu/gare-saint-sauveur/2017/), 6 April – 3 September 2017.
“Referring to Raymond Queneau’s 100,000 billion poems, Roland Barthes reminds us of that essential truth: there is never one city, but always several cities in one – a multiplicity of possible combinations.
[“Roland Barthes, en évoquant les 100 000 milliards de poèmes de Raymond Queneau, nous rappelle cette vérité essentielle: il n’y a jamais une ville, mais des villes.”]
Simon Njami, curator of the exhibition “Afriques Capitales / Capital Africas” (Grande Halle de la Villette, Paris, 2017)
The angular and multi-layered, architectural installation “Tsumeb Fragments”(2015) by Nigerian contemporary artist Otobong Nkanga is on display at Modern Art Oxford as part of the exhibition “KALEIDOSCOPE: It’s Me to the World” (20 August – 17 November 2016).
Like many works from Nkanga’s portfolio, Tsumeb Fragments addresses the themes of landscape, memory and the legacies of colonialism throughout continental Africa, utilising a diverse array of mixed-media and materials: from metal frames, paper and natural minerals, through to photographic stills and film footage.
THE HISTORICAL AND GEOGRAPHICAL CONTEXT TO “TSUMEB FRAGMENTS”
In spring 2015, Otobong Nkanga travelled to Tsumeb in Namibia to an area called The Green Hill – a site known for its precious minerals, natural crystals and copper reserves. However, throughout the late-19th and 20th centuries, when Namibia was colonised by the Germans, the entire area was exploited for these natural resources and over-mined until the landscape was almost totally depleted, left in ruins and transformed into an open-pit. At the time when Nkanga took images of Tsumeb in 2015 the site was no longer a green hill. However, some slight traces of green remained in the tiny, scattered fragments of malachite and azurite minerals – the only remains of the past to evidence the area’s former environmental beauty and wealth. The artist’s inkjet-printed images on Galala limestone in this multi-level installation, therefore, symbolise an act of remembrance, and also a ‘re-imag(in)ing’ of times and places in the past – the palimpsest of memory.