Ana Hoffner ex-Prvulovic* and Belinda Kazeem-Kamiński will each present a personal exhibition at Kunsthalle Wien, which will be their first institutional solo shows in the city.
Both artists share the interest in challenging dominant conceptions of history and memory. They investigate their heteronormative, imperialist and colonial determinations as well as their psychological and spatial expressions – be they tangible in political organisation, knowledge production, or gaze formation. Ana Hoffner ex-Prvulovic* and Belinda Kazeem-Kamiński invent artistic strategies to transform the process of memory to shake its linear backward trajectory: they constantly re-read archival materials, re-interpret and re-tell personal stories, embodying them, exceeding any documentary function by weaving fiction and description, imagination and analysis. Their artworks are queer spaces for projection and dis-identification, driven by decolonial thinking. In doing so, they not only conjure the violence of inherited postcolonial and genderbinary histories but also take an active part in their fundamental remodelling.
Ana Hoffner ex-Prvulovic* is an artist, researcher and writer whose films, installations, performances and texts offer an aesthetic and political redefinition of imperialist/colonial and binary/gendered relations – especially in the realms of memory and identity politics at work in recent history and in the frame of contemporary visual production. Specifically, she focuses in her performative and queer investigations on moments of divergence, subversion, crisis and non-alignment. Her works embody, re-enact, re-stage, re-tell, and comment on the voices of real or imagined others, queering distance and proximity, withdrawal and intimacy, affect and analysis, objectivity and projection.
Belinda Kazeem-Kamiński challenges the common contemporary regimes of musealisation of Black history, the representation and indexation of Black people – structurally and psychologically living in the “afterlives of slavery” (Christina Sharpe) and suffering from a generalised and essentialised anti-blackness. Intertwining critical theory and artistic practice, the artist and writer invents methods and rituals for looking at and dealing with photographic and textual traces of the oppressive and haunting colonial past, giving a voice to the occulted and the suppressed. Belinda Kazeem-Kamiński’s films and installations deploy an anti-racist and non-violent practice rooted in Black queer feminist theory, speculative realism and African futurisms.
Curator: Anne Faucheret