Sidewalk’s Cloud (2014)

2015 ◽  
Vol 59 (1) ◽  
pp. 2-2
Author(s):  
Kader Attia
Keyword(s):  
New York ◽  
Contemporary Art ◽  
Democratic Republic ◽  
Democratic Republic Of Congo ◽  
Republic Of Congo ◽  
Solo Show ◽  
International Recognition ◽  
Tate Modern ◽  
Jacob's Ladder ◽  
Venice Biennale

Kader Attia lives and works in Berlin and Algiers. His first solo exhibition was held in 1996 in the Democratic Republic of Congo. In 2003, he gained international recognition at the 50th Venice Biennale. In 2014, he was awarded the Berlin Art Prize: Jubilee Foundation 1848/1948. Recent exhibitions include Culture, Another Nature Repaired (solo show), Middelheim Museum, Antwerp; Contre Nature (solo show), Beirut Art Center; Continuum of Repair: The Light of Jacob’s Ladder (solo show), Whitechapel Gallery, London; Repair. 5 Acts (solo show), KW Institute for Contemporary Art, Berlin; Construire, Déconstruire, Reconstruire: Le Corps Utopique (solo show), Musée d’Art Moderne de la Ville de Paris; the Biennale of Dakar; dOCUMENTA(13) in Kassel; Performing Histories (1) at MoMA, New York; and Contested Terrains, Tate Modern, London.

scholarly journals Sob o signo da travessia:

Revista Prumo ◽  
2019 ◽  
Vol 4 (6) ◽  
pp. 200-208
Author(s):  
Marcelo Rodrigues Esteves
Keyword(s):  
United States ◽  
New York ◽  
Democratic Republic ◽  
Democratic Republic Of Congo ◽  
The United States ◽  
Republic Of Congo ◽  
Raoul Peck

At becoming worldly known, in 2016, thanks to the success of his documentary I Am Not Your Negro, the Haitian Raoul Peck already possessed an extensive career as a filmmaker, with a first fiction film, Haitian Corner, released in 1987. The movie tells the story of na haitian poet, immigrant, who lives in Brooklyn, New York, tormented by the ghosts of torture suffered in Haiti in the Duvalier era. Himself marked by the sign of displacement – Peck lived in Haiti, in the Democratic Republic of Congo, in Germany, in the United States and France – the filmmaker starts with Haitian Corner a long list of characters displaced or on transit that would thematically shape many of your works. This article intends to revise the image of the refugee/immigrant in this inaugural piece by Peck, with enfasis on the approach of the director to subjects of memory and the trauma caused in the sphere of asylum.

Richard Mosse’s Enclave

2015 ◽  
Vol 11 (2) ◽  
pp. 163-183 ◽  
Author(s):  
Deborah Frizzell
Keyword(s):  
New York ◽  
Democratic Republic ◽  
Democratic Republic Of Congo ◽  
Cultural Representation ◽  
Armed Conflicts ◽  
Sound Installation ◽  
Sign Systems ◽  
The Sublime ◽  
Short Circuits ◽  
Venice Biennale

The Irish artist Richard Mosse’s The Enclave (2013), a six-screen video, photography, and sound installation made over several years in and around Goma, Democratic Republic of Congo, was featured in the Pavilion of Ireland at the Fifty-fifth Venice Biennale and at Jack Shainman Gallery, New York. Shot with infrared Kodak Aerochrome film, Mosse’s Enclave became a locus for debates about contemporary aesthetic strategies, especially within photography, and the ethics of deploying the shock of the sublime to elicit both empathy and questioning, exposing the viewer/participant to the tensions of attraction and aversion that oscillate within the sublime. I argue that Mosse’s visual/aural strategies, by running counter to those programmed within the image supply chain dominated by mass-produced culture, set in motion jarring ambiguities that an uneasy audience must struggle with or at least decode. Mosse engages the critical points at which given sign systems break down, become porous or malleable, and where glitches and short circuits upset our blasé habits and routines of consumption. His installations pose questions about how we read meaning in the texts and images that structure our experience and our understanding of cultural representation. Thus Mosse’s work highlights the limitations of photojournalism and photography by mixing the contingent and abstract, the symbolic and political, evoking the precariousness of life as experienced in the continuing cycles of war, armed conflicts, and systematic tactics of violence that mark our era.

The Role of Gender in Agent Banking: Evidence from the Democratic Republic of Congo

2020 ◽  
Author(s):  
Richard Chamboko ◽  
Robert Cull ◽  
Xavier Gine ◽  
Soren Heitmann ◽  
Fabian Reitzug ◽  
...  
Keyword(s):  
Democratic Republic ◽  
Democratic Republic Of Congo ◽  
Republic Of Congo
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