Fish Bar Symposium
COMPLEX GRIEF (CPTSD)
Hipster Interlude / Venice
EVERYTHING MUST GO
TATE EXCHANGE(D) into MOSQUE
LIVE ARCHIVE (Site Specifics)
And ultimately on the fact that in a reflective shift, from the analytical to the performative function ofhttp://xenopraxis.net/readings/rogoff_smuggling.pdf
observation and of participation, we can agree that meaning is not excavated for, but rather, that it
takes place in the present.
I have been instructed to speak less of my past, preferably to do away with it, especially when it comes to artistic practice. At first I was excited by the freedom this offered; to be civilised, instead of just cultured. An opportunity to sit within a canon of formalistic forms and formulations – a space in which ‘identity’ no longer functions. Because my past is heavy, it is too much of a burden. Others cannot relate to its particularities, the punctum of its weight.
Hence it may not be clear why I have chosen to install an empty bottle fridge, filled with the sounds of grief, as a degree show piece. The premise of this work is to offer a kind of libation, within a space where the serving and spilling of drinks is forbidden. For I am mourning the death of my neighbour, friend and colleague Khadija Saye; because I cannot be in this space without thinking of her. She was the one who brought me here two years ago, to see a previous version of this degree show and made me promise that I would join her as a prospective student, so as to graduate together in the summer of 2019. Yet I stand here alone today, because a few weeks after that encounter, Khadija was killed in the fire of Grenfell Tower, a blaze that was apparently caused by the faultiness of an immigrant’s fridge.
South London Gallery Residency & Exhibition 2020
Exhibition images: HOW TO MAKE A HOW FROM A WHY?
HORMETIC MIMESIS: Philosophical questions are becoming practical ones. The question of what it means to be human has shifted from abstract theoretical concerns into a problem of engineering. Psychoanalysis has been superseded by self-care; and the welfare state has become a visage to usher in a new era of data-driven eugenics. Recently, there has been a discovery that the devastating eating disorder anorexia nervosa is not a purely psychiatric condition, but is also driven by problems with genetics and metabolic processes in the body. As someone with a history of such issues – albeit with the finesse of medical training – I‘m experimenting on my own flesh again; this time guided by the premise of an artistic practice. Through the implementation of longevity protocols and bio-hacking techniques, I am beginning to renegotiate my relationship with death, stress and trauma. I find somehow, that my work always comes back to these themes. The somatic processes of decay have led me into a new phase of somatopoiesis: growing new flesh, whilst parleying in broken tongues. I have come to realise that muscle fibre is a kind of lean memento-mori: a symbolic reminder of death. Its growth relies on stressing the body to such an extent that it thinks it’s going to die. This activates metabolic pathways which lead to gains in strength. Physical training works to mimic this hormetic process. In taking my body to the point of failure on a daily basis, I am filled with a thousand questions, especially in terms of class, gender and race. Because most of my information comes via the #allahgorithm; news feeds that drive the feeding patterns of my day to day existence. The majority of online bio-hackers are privileged white males who benefit from the wealth of neo-colonial exploits in minerals, agriculture and ’mindfulness’. They are the renaissance men of this new-new-age era; combining ‘ancestral-wisdom’, machine-learning, and stem-cell research with the selling of supplements, Skype consultations and lifestyle optimisation services. All in a bid to never face the otherness of death – to maintain self at all costs. A form of individuation which overcomes life and makes art obsolete.