Ida Ekblad MarIus Engh anawana haloba lars lauMann - Statoil

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At a recent conference dedicated to reviewing the former editions of Documenta, held in the fall of 2009 at the Castello di Rivoli in Turin, Okwui Enwezor pointed out that as curator of the 12 th edition he wished to address how the global sphere narrates in relation to a wider range of traditions of form. This re-addressing of the traditions in and around the narrative and within oral culture seemed to evoke Jacques Ranciere’s thoughts about the poetic utterance as that which links the modern stance with political subjectivity. For Ranciere, poetry is an “art of composing fables that belongs to the political experience of the physical – that is to the relationship of the city – the laws that reign there, but also to the songs that are sung and to the humour of the citizens.” This understanding of the poetic is perhaps the best way to approach the working method of Zambian-born artist Anawana Haloba. Haloba’s artistic practice is symbiotically linked to her preparatory exercise of drafting poetry in the form of sketches, which she then 98 abstracts into performative-based works within installations incorporating moving images, objects and sound. “I look at my work as a project in the form of an ongoing discussion – a work that does not strive toward completion but is rendered as a point of departure from which a discussion starts,” observes Haloba. As an artist who attests to having written poetry from the time she could formulate a coherent sentence, Haloba insists that her reason for doing so was not to align herself with script that reflected the childlike visions of the fantastic or the rhythmic redundancy of the onomatopoetic. Instead, Haloba sourced the visual and socio-political landscape immediately available within her native Zambia in the formulation of her still youthful text: (opposite page)
When you look at me shirt once white but now cream white to the color khaki After been washed plain water for months My trousers once black but now faded to a dust grey My lips cracked with a darkening of black red dry blood My shoes half smiling and patched with pieces of different leather textures What I am is a neglected member of society What I am is a neglected member of the system I am a teacher, a civil servant and yet I should be a pillar Of tomorrow’s development 99
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Ida Ekblad MarIus Engh anawana halo
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Editors Jens R Jenssen Bjarne Våga
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A WORD FROM THE JURY As chair it is
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IDA EKBLAD, OR FOR THE NEW YEAR One
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ut rather because it takes up the c
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The physicality (the gum from the a
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Political Song for Jessica Simpson
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If You Give To Me Oil on linen 200
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The Gold Bug Drift (nYc), Rockaway
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Tyrian Purple Oil on linen 200 x 16
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The Gold Bug Drift (nYc), Navy Yard
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A Woman Under the Influence Install
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The Gold Bug Drift (Clapham Common)
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Installation view: (from the left)
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Royal Festival Hall Welded found ir
Page 45: Francis Oil on linen 200 x 160 cm 2
Page 55: DEVILS, WEREWOLVES AND OTHER MYTHS
Page 58 and 59: Over the years its state of abandon
Page 60 and 61: “It embodies the parallelism betw
Page 63 and 64: Lycanthropic Chamber
Page 66 and 67: Collar Oak wood in four pieces 140
Page 68: Saltire Oak wood 228 x 119.5 x 5 cm
Page 72: Lead, Follow or Get the Hell Out of
Page 79 and 80: Hermes Polished granite stone slab
Page 82 and 83: Holiday in Bosnia Watercolour on te
Page 84: Fussorius Pickaxe, shovel and t-shi
Page 95: THE RITUAL WHEN THINGS FALL APART:
Page 99 and 100: 1. Édouard Glissant, Poétique de
Page 101 and 102: and Australia, initiated an externa
Page 103: Whose Privacy? Sound/sculptural int
Page 107: Road Map Sound/sculptural/drawing i
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Page 114: When the Private Became Public Vide
Page 120: Can you see…, Can you hear… Sou
Page 131: LARS LAUMANN
Page 134 and 135: 136 For the perfect flaneur, for th
Page 136 and 137: with their “normalising” agenda
Page 138 and 139: an authentic foreign language (an A
Page 141: Morrissey Foretelling the Death of
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Berlinmuren Video installation, Ger
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You Can’t Pretend To Be Somebody
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Ida Ekblad Born 1980 in Oslo, Norwa
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Skate Culture, Preus Museum, Horten
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Lars Laumann Born 1975 in Brønnøy
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OLAV CHRISTOPHER JENSSEN Born 1954
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CAROLINE M UGELSTAD Born 1972 in Os
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THE WRITERS DAVID LEWIS (American/I
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The Statoil art award is intended t
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acknowlEdgEMEnTs 181
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86, 87 Fussorius Courtesy of the ar
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Ida Ekblad MarIus Engh anawana haloba lars lauMann - Statoil

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