THE UPSHOT OF TRANS-AFFECTIVE SOLIDARITY proposes to explore a new image of humanity capable of valorising solidarity and critical knowledge coming from different contexts and cultures.
THE UPSHOT OF TRANS-AFFECTIVE SOLIDARITY proposes to explore a new image of humanity capable of valorising solidarity and critical knowlegde coming from different contexts and cultures. The programme takes its title from what scholar Anne Garland Mahler calls “trans-affective solidarity" that relies on a metonymic color politics. An imagined transnational, transethnic, transracial, and translinguistic affective encounter in order to envision a more economically equitable, racially just, and human-centered world.
Curated by Kisito Assangni, the project presents work by 8 artists of diverse nationalities who provide an opportunity to reconsider how one can imagine another collective experience that would be capable of renewing our intersubjective ties in these uncertain times. These artists are Mehraneh Atashi (Iran) | Evangelia Basdekis (Greece/UK) | Sabine Gruffat (USA) | Shon Kim (South Korea) | Marie-Claire Messouma Manlanbien (Ivory Coast) | Muriel Paraboni (Brazil) | Jhafis Quintero (Panama) & Johanna Barilier (Switzerland) | Ali Tnani (Tunisia).
THE UPSHOT OF TRANS-AFFECTIVE SOLIDARITY approaches its subject from a variety of perspectives, one of which involves the irresistible pull of intercultural meeting points and dreams around which people converge. Most of the works embrace a sense of reinvention and agency with the aim to shape various interpretative environments. They offer an expanded frame of reference that contributes to this heterogeneous engagement with video, film and the culture of solidarity these artists encapsulate.
The programme is part of the exhibition Approximationen Derivate Surrogate curated by Denise Ackermann and Frank Eckhardt.
The exhibition is on view at MOTORENHALLE Centre for Contemporary Art, Dresden, Germany until March 6, 2022.
Anna Melnykova, "Palace of Labor (palats praci), architector I. Pretro, 1916", shot with analog Canon camera, 35 mm Fuji film in March 2022.
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