If you have a contribution you would like to share on her(e), otherwise, you will be able to submit it on this page in the coming days.
Realms
In December of 2018, a sheep was slaughtered on the beach as a holy ritual of cleansing it of its racism. These short stories articulate the particulars of that racial history as it tells the story of slaves that fell off the São José-Paquete África ship along the Clifton short on their way from Mozambique to Portugal. These stories bring their spirits back to life.
Short story 0
I heard wailing coming from the waves. The wailing pulled me closer with each break of the waves like a siren song. I could not turn back. I needed to console those who cried out to me.
Short story 1
The people of the Sky World can’t hear our voices. Up there our melodies are haunting and ugly. They are a persistent reminder of our blood that was spilt in the Endless Waters. Why else would they need to scrub the beach of those who remind them of us?
Short story 2
A Prophecy*
The saprophyte was born of death.
The saprophyte shall be our gateway.
Localities
Scales
Strategies
If you have a contribution you would like to share on her(e), otherwise, you will be able to submit it on this page in the coming days.
Read this text in: Hausa • IsiZulu • Lgbo • Sesotho • Swahili • Yoruba
The :her(e), otherwise curatorial proposition is conceptually anchored in the interrogation of the architectural brief as both a site and context of power. The briefs, having been formulated in silos of privilege, rendered them a tool of value creation that sustains the reproduction of structural inequality, while perpetuating erasure in the practice of the discipline.
Through a mise-en-abîme format, saay/yaas*—four African co-curators—propose their own brief within the brief of Saison Africa2020. Conceptualized as a bureau de change, they develop an online platform
as a community for knowledge and value production through intimate encounters and exchanges. A set of acts, each structured as call-and-response, invites successive responders to interrogate and jointly construct the architectural brief in a public act of knowledge/content production while operating across different scales and modes of belonging, practice, and representation.
The responders are African-diaspora women spatial makers and thinkers; a demographic historically and continually excluded from the practice of knowledge creation, but whose diverse practice approaches birth a multitude of forms and modes of spatial/curatorial/collective practice.
* Sindi, Anahory, Abengowe, Yehouessi / Yehouessi, Abengowe, Anahory, Sindi.
Patti Anahory was born on a ship traveling south on the Atlantic ocean en route to São Tomé and Principe. Her birth, at dawn, was bathed by the sun rising from the western coast of Africa where the armed struggle for independence in the former Portuguese colonies on the continent was taking place. Her parents named her after Patrice Lumumba.
She works across urbanism, art, pedagogy and curatorial practices. Her work focuses on interrogating narratives of belonging across geopolitics, memory, race and gender constructs. She explores the politics of identity from an African island perspective - as a fugitive edge. Routes and roots are entangled currents running across her work.
Anna Nnenna Abengowe was born in England to an Anglo-Saxon mother and an Igbo father.
Her place of origin is Nigeria. Raised in Yorkshire, Newfoundland and Kaduna, educated in the American system and holding three passports she is plurinational, at once outside the nation-states and traversing them.
After graduating from Princeton University School of Architecture, Anna spent an awful
lot of time in front of the computer wondering: What is Architecture? Upon accepting the position of Deputy Director at the Graduate School of Architecture (GSA), University of Johannesburg, the question morphed: What is the social role of Architecture? Specifically, how does the architect develop and implement theories of form and space under the current intellectual and cultural order of late-modernism, techno-corporate conformity, and the totalizing logic of neoliberalism?
Born in 1990 in Cotonou (Benin), Mawena Yehouessi is an art curator and searcher/ practitioner in Arts and philosophy (PhD fellow @ Villa Arson / Université Côte d ́Azur). Founder of the Black(s) to the Future collective, she lives and works between Nice and Paris (France).
Also trained in cultural projects management and contemporary dance, she belongs to this generation of unclassifiable—or downgraded?—beings whose practices & jobs are a mash-up of slashes. In particular interested in alter-futurisms and poïethics, she also develops an exploratory, prospective, and collusion/collage art practice through her avatar M.Y.
Tuliza Sindi is an architecture lecturer and Unit 19 leader at the University of Johannesburg’s Graduate School of Architecture (GSA). She is also the founder of South African-based experimental firm BRNWSH.
Her firm explores the socio-political construct of ‘service’ as a concept upon which corrosive governance structures and their corresponding spatial conditions are both built on and function from, performing as tools of permission, legitimation, structuration and absolution. The firm - and Unit 19 - borrows theoretical, methodological and visual languages from various disciplines, including, media, theatre, linguistics, economics, sociology, and psychology.
Curatorship and art direction : Collectif Saay / Yaas (Patricia Anahory, Anna Abengowe, Mawena Yehouessi, Tuliza Sindi)
Editorial coordination : Ushsma Thakrar
Graphic design : Yasmine Madec & Damien Arnaud, Tabaramounien.com
Website development : 2Roqs
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Curatorship and art direction: Collectif Saay / Yaas (Patricia Anahory, Anna Abengowe, Mawena Yehouessi, Tuliza Sindi)
Editorial coordination: Ushsma Thakrar
Graphic design: Yasmine Madec & Damien Arnaud, Tabaramounien.com
Website development: 2Roqs
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Users may apply directly to the CNIL on its website: https://www.cnil.fr. However we urge you to contact us first as we will make every effort find a solution to your problem.
In accordance with personal data regulations, users have the following rights:
Right to access data: users may exercise their right to access their personal data by writing to the email address provided below. Before this right is implemented, the user may be required to provide proof of identity;
Right to rectify data: if personal data held on the Website is inaccurate, the user may demand that it be updated;
Right to remove data: users may demand that personal data be deleted from the Website in accordance with current data protection law;
Right to restrict processing: users may request that the processing of personal data be restricted, within the scope of the GDPR personal data directive;
Right to object to processing: users may prevent their data from being processed, according to the provisions of the GDPR personal data directive;
Right to data portability: users may demand that the Website send them the personal data they have provided so that they can pass it on to another website.
You may exercise the aforementioned rights by writing to:
arc en rêve centre d’architecture, 7 rue Ferrère, 33000 Bordeaux, France
or by emailing us at: info@arcenreve.eu , where a data protection officer is available to deal with all questions relating to the protection of your personal data.
All requests must include your contact details and a signed photocopy of a valid ID card or passport. We will reply within one month of receiving your request, or up to two months depending on the complexity of the request and/or the number of requests.
Under French law (Loi n°2016-1321, 7 October 2016), it is possible to decide what will happen to your personal data when you die. For further information please visit the CNIL website: https://www.cnil.fr/.
Users may apply directly to the CNIL on its website: https://www.cnil.fr. However we urge you to contact us first as we will make every effort find a solution to your problem.
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