Sammy Baloji, Untitled, copper shell casings, various sizes, 2017, exhibition view at Galerie Art & Essai, Rennes, 2018
Media All media
Location Hohensalzburg Fortress
Teaching language English (teachers also speak French, German, Swahili, Lingala and Spanish)
What to bring Your personal working material (whatever that comprises)
Requirements An interest and curiosity to work in the Salzburg environment
Maximum number of participants 20
Participation fee € 700.– (€ 540.–)
This two weeks’ course at the Salzburg Summer Academy is for everybody interested in postcolonial theory and practice. It addresses artists, curators, art historians, anthropologists, postcolonial theorists, students, and general public alike.
Participants will actively research traces in the postcolonial present; a special interest will be in landscape as bearer of history, and museum collections. The work can include a broad variety of media, such as photography, sound, installation, writing, painting, sculpture but can also take the shape of an exhibition concept, an essay, a thesis.
In past years, Sammy Baloji has repeatedly interrogated museum collections for their slumbering histories. By examining the objects in their materiality and their trajectories, seemingly well-known artifacts unfold complex life stories, leading to sometimes vast entanglements, connecting the local and the global, art and economy, historical violence and the claim for justice. What is the role that artistic practice can play in unfolding these stories? In how far can the properties of specific materials lead to unravel their connections with other matter, agents, and procedures? Taking our work on the exhibition (2015, Mu.ZEE, Ostende (BE), and book Hunting & Collecting (2016) as a starting point and a methodology, we would like to accompany participants in their specific research.
Sammy Baloji, born in 1978, was raised in Lubumbashi (CD), a centre of colonial, post-colonial and contemporary entanglements related to resources. Colliding reality and representation, his photography and multimedia installations expose tensions between past and present. He mines the archive, traces social history in architecture and landscape, and probes the body as a site of memory and witness to operations of power. He is co-founder of the Picha Encounters, the Biennale in Lubumbashi.
2020 Smithsonian National Museum of African Art, Washington, D.C. Sammy Baloji, Lunds konsthall, Lund (SE). 2019Congos, fragments d’une histoire, Le Point du Jour/Centre d’Art Editeur, Cherbourg-en-Cotentin (FR). Extractive Landscapes, Stadtgalerie Museumspavillon, Salzburg (AT). 2018A blueprint for toads and snakes, Framer Framed, Amsterdam. 2016–18Sammy Baloji & Filip De Boeck – Urban Now: City Life in Congo, WIELS, Contemporary Art Center, Brussels; Open Society Foundation, New York, NY (US); The Power Plant, Toronto (CA); Galerias Municipais/EGEAC, Lisbon. 2014Hunting and Collecting: Sammy Baloji, Mu.Zee, Ostend (BE).
2020 Belgian Art Prize 2020, BOZAR, Brussels. Biennale of Sydney, Sydney (AU). 2019FIKTION KONGO – Kunstwelten zwischen Geschichte und Gegenwart, Museum Rietberg, Zurich (CH). …And Other such Stories (with Filip De Boeck), Chicago Architecture Biennial, Chicago, IL (US). Africa State of Mind, Museum of the African Diaspora, San Francisco, CA (US). Affective Utopia, KADIST, Paris. 2018Congo Stars, Kunsthaus Graz, Graz (AT). 2017 documenta 14, Athens & Kassel (DE). 2016 11th Shanghai Biennale, Shanghai (CN). 2015/16La vie moderne, 13th Biennale de Lyon, Lyon (FR). 2015–17Senses of time: video and film-based works of Africa, Smithsonian National Museum of African Art, Washington D.C.; LACMA, Los Angeles (CA). 2015All the world’s futures, 56th Biennale di Venezia, Venice (IT).
Writer and curator Lotte Arndt (Paris) accompanies the work of artists who critically interrogate the postcolonial present and the blind spots of modernity, and co-organizes cultural programmes, screenings and discussions. She co-curated Candice Lin: A Hard White Body (2017, with Lucas Morin at Bétonsalon, Paris, and 2018 at Portikus, Frankfurt/Main, with Philippe Pirotte); Tampered Emotions. Lust for Dust, Triangle France ( June 2018); One Sentence Exhibition, Kadist (August 2018); and worked on the research programme The Vacation of the Museum. Decolonize Ethnographic Collections with Cinema (2016–2018). Her PhD is dedicated to postcolonial negotiations in Paris-based cultural magazines related to Africa (2013). She is a member of the artists’ and writers’ group Ruser l’image and the research group Global Art Prospective (INHA Paris), and publishes on artistic strategies that aim to subvert Eurocentric narratives and institutions.