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Still from Arrival/Departure, 2019.
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Arrival/Departure is an exhibition by Younes Baba-Ali in the context of Het Betere Boek 2020 on the theme ‘Unthink Africa’. Liberas, partner of the exhibition, has openend its extensive archive of photographs on Congo from the then propaganda service InforCongo. On the occasion of this memorial exercise, this reflection will also culminate in an exhibition of a number of installations around this theme. The question was put to the artist Younes Baba-Ali. Younes Baba-Ali made three installations at the Lubumbashi Biennale last year and will make a new creation based on Liberas’ archival material. The three installations were until recently still in Congo and are currently still on their way. But this trajectory is also part of the reflection, especially on the (im)possibilities of (international) exchange. The exhibition concentrates on departure and arrival and the way in which this is perceived differently from different perspectives. This reflection in September is part of the development residence that Younes has at Kunsthal Gent. Kunsthal Gent is therefore a partner of this project and presents an evening with the artist around his oeuvre, his residency and this trajectory: Artist Talk with Younes Baba-Ali, Sandrine Colard (Biennale de Lubumbashi), Danielle Van Zuijlen (Kunsthal) and Pascal Nicolas (Het Betere Boek).
Liberas and Kunsthal, Gent (Be)
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This fall, Younes starts his residency at KUNSTHAL GENT as part of their development [removed];The development programme ‘Permanently Practising’ offers the context of Kunsthal Gent – an experimental intersection for contemporary art, located in a 13th century monastery in the centre of Ghent – as a workspace and an opportunity for the development of artistic [removed];During his work period in Kunsthal Gent Baba-Ali will invite different people – residents / artists / researchers – and will be recording sound material. He then brings these sounds back to the street and to the Kunsthal itself through performative actions and interventions.
Kunsthal Gent (Be) [removed] > [removed] (appointment on reservation by e-mail) |
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SLEEPERTOWN, curated by Richard Carr, is a public art program featuring the work of international artists for a period of six months. The project features 6 sonic artworks at the several locations and utilises mobile technologies to create a parallel listening world, accessed digitally within the public realm. This world coexists with our ‘real-world’ geographical landscape and encourages people to move through the town of Gorey to specific spaces/places. As they move, they trigger and immerse themselves, in new public artworks via their personal mobile devices. As part of the project, Younes Baba-Ali presents the sound work Everyone is Called Mohamed (2014).
Gorey, Co. Wexford (Irl)
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Curated by Richard Carr
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Coffret de Survie, 2019 © Hugard & Vanoverschelde
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The exhibition Inside-Out at the Royal Museum of Fine Art presents the works of artists of different generations, all based in Belgium and participants of Art Cares Covid. As the visual arts sector was hit hard by the current health crisis Art Cares Covid, allowed a group of artists to present their works, to put them on sale, but also to collect donations for the non-profit organization À Travers les Arts!. In the exhibition, Younes Baba-Ali presents the work Coffret de Survie (2019) which consists of a makeshift catapult next to which a collection of precious gemstones and minerals are laid out. Collected from the Katanga province of the Democratic Republic of Congo, they simultaneously represent the region’s riches and curse: its abundance in precious minerals, mined by international investors to supply the world in primary resources for its insatiable need for electric batteries of all kinds. Rather than driving development for its people, these riches have attracted all kinds of predators – from armed groups to cowboy firms. The coffret on view here, bringing to mind precious gemstone boxes, no longer serves as a collector’s item filled with treasured minerals. Presented in their rough shape, alongside an ubiquitous catapult purchased from local street vendors, they become gadgets in a toolbox for survival, primary ammunition in the people’s defense.
Musée Royaux des Beaux Arts de Belgique, Brussels (Be)
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Curated by Sandrine Morgante and Maëlle Delaplanche
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