ROOM 04

Using the figure of Aida Overton Walker, Heather Agyepong reimagines grotesque and racist postcards of the early 19th Century as images of self-care. Through satirical commentary and depictions of radical self-worth, these photographs explore concepts of ownership, entitlement and mental wellbeing with a mandate for those of Afro-Caribbean descent disrupt the roadblocks affecting our collective mental health as guide, ancestor and advocator.

Which is more significant: artwork or archive? A Moment uses images taken at the point of visual transformation and dialectical form between the calm and energetic, exploring artistic nostalgia as a contemporary medium as well as the quest for certainty of history, family and personal identity.

Which is more significant: artwork or archive? A Moment uses images taken at the point of visual transformation and dialectical form between the calm and energetic, exploring artistic nostalgia as a contemporary medium as well as the quest for certainty of history, family and personal identity.

In response to the UK Government’s Hostile Environment policy and the consequent rise of Skype Families, C-R92/BY investigates how people maintain relationships with relatives who are reduced to two-dimensional images. It warns us of the possible future for many international families—and perhaps us all, as we are increasingly defined by our online presence.

In response to the UK Government’s Hostile Environment policy and the consequent rise of Skype Families, C-R92/BY investigates how people maintain relationships with relatives who are reduced to two-dimensional images. It warns us of the possible future for many international families—and perhaps us all, as we are increasingly defined by our online presence.

Spectrum Imaging Award Tami Aftab playfully questions collaboration, consent, family and the hushed tones surrounding illness, as the subject of her work. She explores the space between documentary and performance after an operation permanently damaged her father’s short-term memory. Ultimately, it is the story of a father-daughter relationship and how one family deals practically with their daily life challenges.

Project Title: Like Stains of Red Dirt This series features photographs of everyday moments taken in the artist’s home and immediate surroundings. Made after living in Johannesburg for more than 10 years, the artist focuses on everyday moments, gestures, objects and plants to suggest emotions and anxieties as much as the presence of historical and political undercurrents that traverse the context in which the photographs are made. Focussed on colour and shadow, the images invite us to see the surface as both seductive and illusory, questioning what we see and how we choose to see it.

Project Title: Like Stains of Red Dirt This series features photographs of everyday moments taken in the artist’s home and immediate surroundings. Made after living in Johannesburg for more than 10 years, the artist focuses on everyday moments, gestures, objects and plants to suggest emotions and anxieties as much as the presence of historical and political undercurrents that traverse the context in which the photographs are made. Focussed on colour and shadow, the images invite us to see the surface as both seductive and illusory, questioning what we see and how we choose to see it.

Since 2020, Anouchka Renaud-Eck has been exploring the realm of love in contemporary India. Ardhanarishvara “Lord Who Is Half Woman” is one of the forms of the Hindu god Shiva , in which he appears with his wife Parvarti as a half-male and half-female form, two inseparable cosmic forces united as one body. Despite the large scale mythification of amorous union in Hindu mythology and Bollywood, arranged marriages remain rampant. In a 2012 survey conducted by Ipsos, 74% of Indians responded that they preferred an arranged marriage. The matrimonial quest for Young Indians often turns into a countdown to forget teenage love and honour their parents’ choice. Age, social background and astral compatibility are often important criteria in these matrimonial decisions. In this project, Renaud-Eck aims at exploring the parallels between the idealized notions and the social reality of matrimony in India. She thus takes us on a journey through the three stages of union, separation and reunion, asking us the question: can there be no love without pain? This exhibition includes 2 audio pieces. One is located at each wall. Move towards the artworks to listen. Audio: Meera Shenoy & Anouchka Renaud Eck

Since 2020, Anouchka Renaud-Eck has been exploring the realm of love in contemporary India. Ardhanarishvara “Lord Who Is Half Woman” is one of the forms of the Hindu god Shiva , in which he appears with his wife Parvarti as a half-male and half-female form, two inseparable cosmic forces united as one body. Despite the large scale mythification of amorous union in Hindu mythology and Bollywood, arranged marriages remain rampant. In a 2012 survey conducted by Ipsos, 74% of Indians responded that they preferred an arranged marriage. The matrimonial quest for Young Indians often turns into a countdown to forget teenage love and honour their parents’ choice. Age, social background and astral compatibility are often important criteria in these matrimonial decisions. In this project, Renaud-Eck aims at exploring the parallels between the idealized notions and the social reality of matrimony in India. She thus takes us on a journey through the three stages of union, separation and reunion, asking us the question: can there be no love without pain? This exhibition includes 2 audio pieces. One is located at each wall. Move towards the artworks to listen. Audio: Meera Shenoy & Anouchka Renaud Eck

Follow the link to watch 'May 4'. Please Note: this video contains flashing images. Which are more significant, artworks or art archives? Which is more important, the picture or the process of image production, the way an image is viewed or the positioning of the image? Watch and be watched. Today’s issues with video & photography have officially given way to issues with the image. With Weekend, the artist and Beijing / LA resident Lei Lei not only displays artistic nostalgia, but also the constant quest for certainty regarding history, family and personal identity. His work can be seen as a type of “creative thinking” on the theme, an artistic strategy related to future imagination, and a contradictory position on emotions that cannot be returned to today. As philosopher and art critic Boris Groys pointed out: “Life can be recorded, but it can't be shown.” It is also because of the complexity of this contradiction, and the images that comprise the artist’s works that different images taken at the point of visual transformation and dialectical form between the calm and the energetic are shown, so that “nostalgia” becomes a truly contemporary medium in the practice of image art.