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Twists Turns and Broken Doors

Borders have been thought of as either modes of containment or final barriers leading up to ultimate liberation and freedom. They however have a concurrent notion of division. Within these borders are barriers which prevent but also allow. Boundaries and borders are often made up of imaginary lines of division. They do not only denote geographical accentuations, but connote psychically internal concepts of boundaries and repressions which are as a result of the re-territorialized cultural constructions which may be crossed or breached from time to time. These in one way or the other entrap the contained. Reflecting on these entrapments, varied thoughts of enslavements come to mind. What type of societal progression, retrogression or stagnation is experienced “within” and “without” the bounded space? What forms of intervention are used to counteract these? Within a given space, bounds, ends and limits, associates of boundaries and borders, prevent or hinder one from what would otherwise be transgressed. In their own ways, they impose some form of restriction on freedom. This may not only be geographical boundaries but also found in other spheres of life; the divides of ethnicities, religions, sexes and cultures. Issues of security thus bring varied thoughts and forms of protection hence the use of systems to express inclusions and exclusions leading to the dialectics of concealment and revelation.

With a combination of hand printed jute, hand-made paper, palm fibre, a variety of threads and netting, polyester fabrics, scroll-like tapestries, tubular forms in a variety of red-hues populate an environment, speaking of notions of geography and contestations of space.

The entire installation embodies the logic of an extraneous system that progressively takes over another, resulting in a new being, not altogether homogenous. Some of the elements are conceived like parasites. They infiltrate the space, slowly giving it their particular nature over time. They may merge physically or could be combined optically from particular angles into new entities. They emerge not as “normalized” beings but become unfathomable and quite unnerving. When they are encountered, security patrols between sovereign states are interrogated. What does it mean to subscribe heavily to the violence of borders and boundaries?

Dorothy Akpene Amenuke

 

 

      

Habitation-Inhabitation

The complexity of existence could be seen in the everyday experiencing of inhabiting spaces. These Inhabited spaces, could be friendly or hostile. Space consumption and its accompanying emotional registers of security, confinement, resignation, intimacy, boredom, and contentment etc., all come together to define the politics of space. The art exhibition "Habitation-Inhabitation," conceived like a parasite, presents an installation, which embodies the logic of an extraneous system that progressively takes over another, resulting in a new being that is not altogether homogenous. Conformable and non-conformable entities infiltrate an initially pristine space, slowly giving to this space their particular nature over time. They are gotten used to and with time, become one with the space. The built environment, combined with the immersive actions of parasitic elements (plants, animals, ideas or machines), thus become the "actual world". This evokes the essence of how in a situation of contest, dual entities may be subsumed, thereby allowing for an emphasis of the dynamics of a “becoming”. "Habitation-Inhabitation" exhibition presents an imaginary world in which Sculpture is given a paradoxical twist, as fabrics, fibres, and other cloth-like materials are manipulated to expatiate the discussion on spatiality and occupancy.

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The Scroll

Openings and closures bring to mind what comes and goes by. What is let in and out are revelatory. They are about the intricacies of inhabited spaces. As much as is let in, the fullness of what is let out. The “entrance” is therefore so crucial to the inhabitation. Every bit of happenings “within” and “without” the entrance is thus important.  Like the Hebrew mezuzah, (which may refer to the door posts and what is on it), doors and gates become the dividing line between the hurl of the outside and the supposed sanctity and safe haven of the inside. Created entirely from natural fibres, The Scroll contemplates revelations, and drapes onto the ground revealing and concealing its hieroglyphic-like codes.

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Coded

Boundaries and borders are often made up of imaginary lines of division. They do not only denote geographical accentuations, but connote psychically internal concepts of boundaries and repressions which are as a result of the re-territorialized cultural constructions which may be crossed or breached from time to time. What type of societal progression, retrogression or stagnation is experienced “within” and “without” the bounded space? What forms of intervention are used to counteract these? Issues of security thus bring varied thoughts and forms of protection hence the use of systems to express inclusions and exclusions leading to the dialectics of concealment and revelation.

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