7:00 pm

head to hand

The aim of the evening programs of the new local is to create an “in-between space” in which the experiences of the artists are discussed but not analyzed, learned from but not functionalized. Instead of formulating clear-cut answers, the in-between space should be a setting in which we walk around, or through, the different experiences, looking at their documentations from all possible angles. As a curator and educator, Sepake Angiama is interested in how we shape and form our experiences in understanding the world, using the notion of unlearning to research the possibility of destabilizing the European canon with indigenous knowledge.

Considering the choreography and design of such an in-between space, Angiama welcomes the experiences of Hana Miletić and Ola Hassanain and her fellow performers and artist and researcher Onyeka Igwe. What knowledge emerges when we shift our focus from visibility to tactility? How can architectural, social, and political meanings be approached and communicated differently through singing and humming, music and sound?

with
Sepake Angiama
Ola Hassanain
Hana Miletić
more to be announced

location
Prinsenstraat/Rue des Princes 12, 1000 Brussels

Friday October 12, 2018
7pm – 8:20pm

Sepake Angiama

Sepake Angiama is a curator and educator interested in discursive practices, the social framework, and how we shape and form our experiences in understanding the world. She works with artists and thinkers who disrupt or provoke the social sphere through action, design, dance, and architecture. She is the initiator of Under the Mango Tree: Sites of Learning in cooperation with ifa (Institut für Auslandsbeziehungen), Stuttgart. Working with notions of unlearning and indigenous knowledge, artist-led project spaces, libraries, and schools, she is interested in unfolding discourses and gathering order to discuss and build radical education practices that destabilize the European canon. Previously, Angiama was head of education for documenta 14, Kassel, 2017; director of education for Manifesta 10, Saint Petersburg, 2014; and curator of public programs at Turner Contemporary, Margate. She has created educational programs for several institutions, including Tate Modern and Hayward Gallery in London. Sepake Angiama is currently co-curating the upcoming Chicago Architecture Biennial.

Ola Hassanain

Ola Hassanain is an artist with degrees in architecture, cultural identity, and globalization. She has an MFA with distinction from HKU University of the Arts, Utrecht. She was a 2017/18 Fellow at BAK, basis voor actuele kunst, Utrecht. Her videos, texts, performances, and installation-based and photographic work produce intriguing artwork that is informed by the cultural, political, and societal position of women in Khartoum, including her own experiences and her family’s diaspora. Her projects deal with the link between women, public space, and public order legal policies in Khartoum and her involvement in the Dutch art scene has been critical in developing her work on opening up investigations of the role of architecture and our perception of “space” as a political discourse. Hassanain lives and works between Utrecht and Khartoum.

Onyeka Igwe

Onyeka Igwe is an artist, filmmaker and researcher. She is born and based in London, UK. Her video works have shown at the Institute of Contemporary Arts, London; Nuit Blanche,Toronto; and the London, Edinburgh Artist Moving Image, Rotterdam International and Hamburg film festivals. In 2018, she has exhibited at articule, Montreal; Trinity Square Video, Toronto; and The Showroom, London. She has also had screenings at LUX, Northwest Film Center, and the Berlin Biennale.

Hana Miletić

Hana Miletić is a keen observer of the social realities that often go unnoticed in public space. She explores the city and its communities marked by migration, focusing on conditions of scarcity and neglect. Her approach reveals the parallels between what we pay attention to and our perception of value. With a background in documentary photography, she creates work in various media, including sculpture, textiles, performance, printed matter and writing, and on a regular basis facilitates collaborative programmes of lectures and workshops.
Three years ago, she became active in community weaving workshops in Brussels, reconnecting with a craft from her childhood in Yugoslavia. Textiles have been passed down through generations of women in her family. The artist sees weaving—which requires considerable time and dedication—as a metaphorical process that allows her to reflect on certain social and cultural conditions. She calls this a practice of “care and repair,” through which she aims to re-evaluate the relationships between working, thinking and feeling.
Miletić often goes beyond the reproductive labour of weaving to intervene sculpturally, undoing parts of the close-knit fabric to expose the intricate bonds between the yarns. Proposing a soft activism, she uses these material gestures to explore the values and technologies that bind (or separate) people.
Hana Miletić, born in 1982 in present-day Croatia, lives and works in Brussels. Miletić first came to Belgium in 1990 and is based there since 2001. She was a resident at
Van Eyck in Maastricht in 2014–15. In 2015, she was awarded the BOZAR Prize in the framework of the Young Belgian Art Prize. In 2016 she participated in Festival Indiscipline at Palais de Tokyo in Paris. She recently took part in the 13th Sharjah Biennial (2017) and is currently associated artist of the Beursschouwburg, Brussels (2016–21). In 2018 WIELS Contemporary Art Centre in Brussels, in collaboration with Kunstefestivaldesarts, presented her first big institutional solo exhibition.

Softwares is a proposition for a temporal pavilion made up of woven textile covered with a grid-like design. The grey and white checkerboard pattern of the gird references at once the Photoshop transparency grid and a weaving draft. Both of these grids render visible but also support the production of images through photography and weaving, the two media that Miletić works with.
The textile for the pavilion was woven on an automated Jacquard loom, which is considered as the precursor of the first computer and acknowledged as an indispensable tool in the development of early software. In order to distort the binary and serial aesthetic of the grid
Miletić chose to produce a partly unbound the fabric hereby producing a fabric that is more porous and in parts translucent.

By using and re-imagining the grid Miletić wants to shift our focus from visibility to tactility, from head to hand. Here the artists recalls Bauhaus textile artist and educator Anni Albers who called for a “tactile sensibility” because a lopsided orientation toward vision, as Albers suggested, presupposes too much focus on the eye (or the centering of the “I”), whereas touch is about accessing relationships, thinking through one’s quite physical relationship to the material and how by extension the material might affect others in its path.

The pavilion will be temporary installed in the public space of Muntplein, situated in relation to the administrative centre and the opera hall, two institutes that produce notions of legality and culture on that same square. Miletić has invited to the temporal pavilion the all-female music and discussion group LadyVines that grew out of the group of newcomers that Miletić worked with in 2017 in the community arts centre Globe Aroma on the project txt, Is Not Written Plain. LadyVines will perform a live group vocal arrangement using solely their bodies to produce sounds.

Shilemeza Prins was trained as a nurse in South Africa (Universiteit van Kaapstad). She currently works for 11.11.11, the coalition of NGOs, unions, movements and various solidarity groups in Flanders and Brussels that supports development initiatives in the Global South by lobbying national and international governments and organizations. Shilemeza writes poetry since 2005. She uses her writing to express her thinking and feeling about society. In 2018, together with Mimouna Amri and other women from Globe Aroma, she initiated the all-female music and discussion group LadyVines.