Otobong
Nkanga

OtobongNkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018

Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

Otobong Nkanga
Installation view, Otobong Nkanga: To Dig A Hole That Collapses Again
MCA Chicago
March 31 - September 2, 2018
Photo : Nathan Keay, © MCA Chicago

OtobongNkanga
Exhibition view - Blind Faith : Between the Visceral and the Cognitive in Contemporary Art - Haus der Kunst, Munich, 2018

© Maximilian Geuter

Otobong Nkanga
Exhibition view - Blind Faith : Between the Visceral and the Cognitive in Contemporary Art - Haus der Kunst, Munich, 2018

© Maximilian Geuter

Otobong Nkanga
Exhibition view - Blind Faith : Between the Visceral and the Cognitive in Contemporary Art - Haus der Kunst, Munich, 2018

© Maximilian Geuter

Otobong Nkanga
Exhibition view - Blind Faith : Between the Visceral and the Cognitive in Contemporary Art - Haus der Kunst, Munich, 2018


Infinite Yield, 2015
Tapisserie
288 x 175 cm

© Maximilian Geuter

Otobong Nkanga
Exhibition view - Blind Faith : Between the Visceral and the Cognitive in Contemporary Art - Haus der Kunst, Munich, 2018


The Weight of Scars, 2015
Textile (Viscose, Laine, Mohair et coton) et Impression sur 10 plaques de forex
253 x 612 cm

© Maximilian Geuter

OtobongNkanga
Carved to Flow, 2017
DOCUMENTA 14, Athens

© Wim van Dongen

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Athens
© Wim van Dongen

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Athens
© Wim van Dongen

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Athens
© Wim van Dongen

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Athens
© Wim van Dongen

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

Otobong Nkanga
Carved to Flow, 2017
DOCUMENTA 14, Kassel

OtobongNkanga
Wetin You Go Do ? at TATE MODERN, April 2017
Exhibition views at THE TANKS

Otobong Nkanga
Wetin You Go Do ? at TATE MODERN, April 2017
Exhibition views at THE TANKS

Otobong Nkanga
Wetin You Go Do ? at TATE MODERN, April 2017
Exhibition views at THE TANKS

Otobong Nkanga
Wetin You Go Do ? at TATE MODERN, April 2017
Exhibition views at THE TANKS

Otobong Nkanga
Wetin You Go Do ? at TATE MODERN, April 2017
Exhibition views at THE TANKS

OtobongNkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK

© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

Otobong Nkanga
The Encounter That Took a Part of Me, 2017
Taste of a Stone

Exhibition views at Nottingham Contemporary, UK
© Stuart Whipps

OtobongNkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Exhibition views

© Philippe De Gobert

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
In a Place Yet Unknown, 2017
Détail
Textile tissé, reservoir en métal, encre et teinture
266 x 180 cm

© Philippe De Gobert

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
In a Place Yet Unknown, 2017
Détail
Textile tissé, reservoir en métal, encre et teinture
266 x 180 cm

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
In a Place Yet Unknown, 2017
Détail
Textile tissé, reservoir en métal, encre et teinture
266 x 180 cm

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
In a Place Yet Unknown, 2017
Détail
Textile tissé, reservoir en métal, encre et teinture
266 x 180 cm

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Steel to Rust - Meltdown, 2016
Textile tissé
222 x 306 cm overall

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Steel to Rust - Meltdown, 2016
Détail
Textile tissé
222 x 306 cm overall

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Steel to Rust - Slow Growth, 2017
Textile tissé, cristaux
240 x 160 cm

© Philippe De Gobert

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Steel to Rust - Slow Growth, 2017
Détail
Textile tissé, cristaux
240 x 160 cm

Otobong Nkanga
Exhibition view, Belgium Art Prize 2017, BOZAR, BRUXELLES
Steel to Rust - Slow Growth, 2017
Détail
Textile tissé, cristaux
240 x 160 cm

OtobongNkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Galerie In Situ - fabienne leclerc, Paris
Exhibition views

Courtesy : The Artist & Galerie in situ - Fabienne Leclerc, Paris © Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
In Pursuit of Bling - Coalition, 2014
Lambda print
62,5 x 42,5 cm

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Currency Affair & War and Love Booty, 2011 - 2016
4 Lambda print
4 x (47,5 x 62,5 cm)

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Where Traces lie, 2015-2016
Tapisserie, peinture, métal, impression sur forex, impression sur tissu et minerai
110 x 90 x 3 cm

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Back to the hole, 2016
Acrylique, crayon et fusain sur papier
159 x 59 cm

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Cracks Around the Corner, 2016
Acrylique et peinture sur bois
170 x 189 cm

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
Grey zone-Shaping Memory, 2016
Acrylique et peinture sur bois; photographie lambda print (Diptyque)
136 x 105 cm encadré

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
I Dey O, 2016
2 shères en béton (diam 42 cm), cordage et système son

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

Otobong Nkanga
Exhibition view, Cracks Around The Corner, 01-30 June 2016
I Dey O, 2016
2 shères en béton (diam 42 cm), cordage et système son

Exhibition views at Galerie In Situ - fabienne leclerc, Paris

© Rebecca Fanuele

OtobongNkanga
In Pursuit of Bling - Desire, 2014-2016
Lambda print
60 x 40 cm
Edition de 5 ex + 1 AP

OtobongNkanga
In Pursuit of Bling - Coalition, 2014
Lambda print
60 x 40 cm ( 62,5 x 42,5 cm encadré )
Edition de 5 ex + 1 AP

OtobongNkanga
In Pursuit of Bling - Indulgence, 2014-2016
Lambda print
40 x 60 cm ( 43 x 63 cm encadré )
Edition de 5 ex + 1 AP

OtobongNkanga
Exhibition views "Bruises and Lustre" M HKA Anvers - Belgium, 2015-2016

© M HKA & photoclinckx - Anvers

Otobong Nkanga
Exhibition views "Bruises and Lustre" M HKA Anvers - Belgium, 2015-2016
© M HKA & photoclinckx - Anvers

Otobong Nkanga
Exhibition views "Bruises and Lustre" M HKA Anvers - Belgium, 2015-2016
© M HKA & photoclinckx - Anvers

Otobong Nkanga
Exhibition views "Bruises and Lustre" M HKA Anvers - Belgium, 2015-2016
© M HKA & photoclinckx - Anvers

OtobongNkanga
Solid Maneuvers, 2015
Make-up, Vermiculit / Various metals, Forex, Acrylic and Tar
141 x 147 x 206 cm
Pièce unique

Otobong Nkanga
Solid Maneuvers, 2015
Solid Maneuvers performed

Otobong Nkanga
Solid Maneuvers, 2015

OtobongNkanga
Solid Maneuvers, 2015
Make-up, Vermiculit / Various metals, Forex, Acrylic and Tar
141 x 147 x 206 cm
Pièce unique

OtobongNkanga
The Weight of Scars, 2015
Textile (Viscose, Laine, Mohair et coton) et Impression sur 10 plaques de forex
253 x 612 cm
Edition de 3 ex + 1 AP
© M HKA & photoclinckx - Anvers

OtobongNkanga
Infinite Yield, 2015
Tapisserie
288 x 175 cm
Edition de 6 ex + 1 AP

OtobongNkanga
Wetin you go do ?, 2015
29 sculptures en béton teinté, corde et son
40 cm à 80 cm de hauteur

Exhibition view at La Biennale de Lyon 2015

Otobong Nkanga
Wetin you go do ?, 2015
29 sculptures en béton teinté, corde et son
Exhibition view at La Biennale de Lyon 2015

Otobong Nkanga
Wetin you go do ?, 2015
29 sculptures en béton teinté, corde et son
Exhibition view at La Biennale de Lyon 2015

OtobongNkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

Otobong Nkanga
Exhibition view - Comot Your Eyes Make I Borrow You Mine, Kadist Art Foundation-Paris, 27.09-20.12.15
© Aurélien Mole

OtobongNkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

© Portikus & Galerie in situ - Fabienne Leclerc, Paris

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

Otobong Nkanga
Exhibition view - Crumbling Through Powdery Air, Portikus, Frankfurt, Germany (16.07-06.09.2015)

OtobongNkanga
In Pursuit of Bling, 2014
Mixed media et 2 films (ed de 5)
Variables dimensions

© Otobong Nkanga & Berlin Biennale 2014

Otobong Nkanga
In Pursuit of Bling, 2014
The Transformation side view

Otobong Nkanga
In Pursuit of Bling, 2014
The Discovery side view

OtobongNkanga
The embrace, 2014
Sticker et acrylique sur papier
42 x 30 cm non encadré
Pièce unique

OtobongNkanga
In Pursuit of Bling : The Discovery, 2014
Tapisserie
190 x 180 cm
Edition de 5 ex + 1 AP

OtobongNkanga
In Pursuit of Bling : The Transformation, 2014
Tapisserie
182 x 180 cm
Edition de 5 ex + 1 AP

OtobongNkanga
Alterscapes : Playground , 2005-2015
3 c -print montées sur aluminium
3 x (50 x 67 cm) ( 3 x (54 x 71 x 4 cm) encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Alterscapes : Playground (A), 2005-2015
c -print monté sur aluminium
50 x 67 cm ( 54 x 71 x 4 cm encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Alterscapes : Playground (B) , 2005-2015
c -print monté sur aluminium
50 x 67 cm ( 54 x 71 x 4 cm encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Alterscapes : Playground (E), 2005-2015
c -print monté sur aluminium
50 x 67 cm ( 54 x 71 x 4 cm encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Alterscapes : Playground (C), 2005-2015
c -print monté sur aluminium
50 x 67 cm ( 54 x 71 x 4 cm encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Alterscapes : Playground (D), 2005-2015
c -print monté sur aluminium
50 x 67 cm ( 54 x 71 x 4 cm encadré )
Edition de 7 ex + 1 AP

OtobongNkanga
Taste of a Stone, 2010 - 2014
Photography Inkjet prints on Galala limestone and wooden structures
6 x (100 x 40 x 140 cm)
Edition de 3 ex + 1 AP
© Rebecca Fanuele

OtobongNkanga
Taste of a Stone - Tool, 2010 - 2014
Photography Inkjet prints on Galala limestone and wooden structures
100 x 40 x 140 cm
Edition de 3 ex + 1 AP
dont 2 editions complètes indissociables

OtobongNkanga
Taste of a Stone - Demarcate, 2010 - 2014
Photography Inkjet prints on Galala limestone and wooden structures
100 x 40 x 140 cm
Edition de 3 ex + 1 AP
dont 2 editions complètes indissociables

OtobongNkanga
Contained Measures of Tangible Memories, 2009-2011
Bois, métal, céramique, Mica, Savon noir, Cassia Fistula, Teinture Indigo, Mica, Savon noir, Cassia fistula, Indigo dye (Le bleu magique) et pierre d ' Alum, écran vidéo et film (8 min 37)
Dimensions variables
Pièce unique
© Raphael Fanelli

Otobong Nkanga
Contained Measures of Tangible Memories, 2009-2011
Detail

Otobong Nkanga
Contained Measures of Tangible Memories, 2009-2011
Detail

Otobong Nkanga
Contained Measures of Tangible Memories, 2009-2011
Video Still

Otobong Nkanga
Contained Measures of Tangible Memories, 2009-2011
Video Still

Otobong Nkanga
Contained Measures of Tangible Memories, 2009-2011
Video Still

OtobongNkanga
Contained Measures of Tangible Memories, 2009-2011
Bois, céramique, Mica, Black soap (Savon noir), Cassia fistula, Indigo dye (Le bleu magique), Alum, digital screen and video
dimensions variables

© La Galerie Contemporary Art Centre, 2011, Noisy-le-Sec, France

OtobongNkanga
Emptied Remains (Waiting to Migrate), 2004-2015
4 c -print montées sur aluminium
(1 Photo 88 x 116 cm, 2 Photos 43 x 55 cm, 1 Photo 88 x 116 cm) Overall : 90 x 293 cm encadré
Edition de 3 ex + 1 AP

OtobongNkanga
Emptied Remains (Color of Nature is definitely Green), 2004-2015
5 c-print montées sur aluminium
(90 x 118 cm ; 90x57 cm ; 90 x 118 cm : 45 x 57 cm ; 45 x 57 cm) Overall : 90 x 350 cm
Edition de 3 ex + 1 AP

OtobongNkanga
Emptied Remains (Gas Field), 2004-2015
4 c-print montées sur aluminium
90 x 118 cm; 45 x 57 cm ; 45 x 57 cm ; 90 x 118 cm (Overall : 90 x 293 cm)
Edition de 3 ex + 1 AP

OtobongNkanga
Shaping Memory, 2012-2014
Lambda print
120 x 90 cm (136 x 105 cm encadré)
Edition de 5 ex + 2 AP

OtobongNkanga
There's only So Much a Neck Can Carry, 2011-2012
Textile (Viscose, Laine, Mohair et coton) et Impression sur plaque de forex
115 x 165 cm
Edition de 3 ex + 1 AP

OtobongNkanga
Contained Measures of Shifting States, 2012
Novembre 2012 The Tanks TATE MODERN, Londres

OtobongNkanga
Contained measures of Shifting States, 2012
Novembre 2012 The Tanks TATE MODERN, Londres

OtobongNkanga
Contained Measures of Land, 2008
Acrylique et Huile sur toile
3 x (135 x 145 cm)
Pièce unique
What is mine is not yours (135 x 145 cm); The Fight (135 x 145 cm); Crisis (135 x 145 cm)

OtobongNkanga
Partition : Divorce , 2005
Encre sur papier
29,7 x 21 cm (39 x 30 cm encadré)
Pièce unique

OtobongNkanga
Object Atlas - Facing the Opponent (exhibition view), 2012

OtobongNkanga
Object Atlas - Facing the Opponent (exhibition view), 2012
DETAIL

Collection of Weltkulturen Museum, Franfurt, Germany

OtobongNkanga
Object Atlas - Facing the Opponent (exhibition view), 2012
DETAIL

Collection of Weltkulturen Museum, Franfurt, Germany

OtobongNkanga
Fragilologists Predicament, 2011
Permanent Collection Exhibition view Kiasma Museum, Helsinki, Finlande

OtobongNkanga
Fragilologists Predicament (detail), 2011
Permanent Collection Exhibition view Kiasma Museum, Helsinki, Finlande

OtobongNkanga
Lying with Weapon II , 2010
Photography Inkjet prints on Galala limestone and wooden structures
70 x 40 x 60 cm and 20 x 20 cm
Edition de 5 ex + 2 AP

OtobongNkanga
Resistance Lagos Roads 1992, 2010
Pièce unique
Private Collection

OtobongNkanga
Social Consequences II - Constructivism, 2009
Pièce unique
Private Collection

OtobongNkanga
Choices We Make, 2009
Pièce unique
Private Collection

OtobongNkanga
Seize All You Can, 2009
Pièce unique
Private Collection

OtobongNkanga
The Overload / Projectiles / Piercing Pressure / Hostage / Wastescape / The Overflow, 2009
Pièce unique
Private Collection

OtobongNkanga
Six Inches, 1988, BSP, Chatou-Croissy, 2009
Pièce unique
Private Collection

OtobongNkanga
Teargas, 1978, Yaba, Lagos, 2009
Pièce unique
Private Collection

OtobongNkanga
Reduced to Ashes, 1978, Yaba, Lagos, 2009
Pièce unique
Private Collection

OtobongNkanga
Alterscapes Stories : Uprooting the Past, 2006-2016
Photographie contrecollée sur aluminum
3 x (114 x 114 cm)
Edition de 7 ex + 2 AP

OtobongNkanga
Dream in One Meter Square, 2004-2005

Sharjah International Biennial - installation view 2005

OtobongNkanga
Dream in One Meter Square, 2004-2005

Sharjah International Biennial - installation view 2005

OtobongNkanga
Awaiting Pleasures as I Swivel, 2003
Aquarelle, encre et crayon sur papier
31,8 x 24 cm (non encadré)
Pièce unique

OtobongNkanga
Awaiting Pleasures but it cut, 2002-2003
Sculpture et plaque en céramique, Encre sur papier, Rhodoid et calque
Dimensions variables
Pièce unique
© Sébastien Gracco de Lay
Dessin (60 x 50 cm); Calque (70 x 80 cm); Rhodoid (126 x 55 cm); Plaque de céramique (125 x 75 x 1cm); Sculpture en céramique (50 x 70 x 70 cm)

Otobong Nkanga
Awaiting Pleasures but it cut, 2002-2003

Otobong Nkanga
Awaiting Pleasures but it cut, 2002-2003

OtobongNkanga
Fiac 2014 - Installation Otobong Nkanga
Taste of a Stone
Exemplaire isolé

1/63

Née en 1974 à Kano, Nigéria
Vit et travaille à Anvers, Belgique

Plasticienne et performeuse, Otobong Nkanga a suivi des études d'art à l'Obafemi Awolowo University d'Ile-Ifé, au Nigeria, et ensuite à l'Ecole Supérieure des Beaux-Arts de Paris. Elle a été résidente à la Rijksasademie van beeldende kunsten à Amsterdam, avant d'obtenir en 2008 un master en Performing Arts à Dasarts, Amsterdam.

Les dessins, installations, photographies, performances et sculptures d'Otobong Nkanga interrogent de différentes manières la notion de territoire et la valeur accordée aux ressources naturelles.

Dans son travail, La dimension performative imprègne différents média et génère toutes sortes d'oeuvres (peinture, dessin, photographie, sculpture, installation et vidéo), bien qu'elles soient toutes connectées aux thèmes du paysage et de l'architecture. Traces humaines attestant de modes de vie et de problématiques environnementales, l'Architecture et le Paysage servent de point de départ à la narration et à l'acte performatif. Selon ses propres mots, Otobong Nkanga utilise sa voix et son corps comme véhicule de ses idées, à travers des performances ou des vidéos,  pour devenir la protagoniste de son propre travail.

Sa présence est paradoxalement le catalyseur de sa propre disparition, une main invisible qui met en mouvement le processus artistique.  Otobong Nkanga négocie l'accomplissement du cycle de l'art entre le domaine esthétique de la monstration et une stratégie dé-sublimation qui pousse le statut d'oeuvre d'art vers sa contingence.

Dans plusieurs de ses travaux Otobong Nkanga réflechit de manière métonymique les différents usages et valeurs culturelles connectés aux ressources naturelles, explorant ainsi comment sens et fonction sont relatifs au sein de cultures, et révélant les différents rôles et histoires de ces matières, tout particulièrement dans le contexte de sa propre vie et de ses souvenirs.

Parmi les récentes expositions d'Otobong Nkanga, on peut citer :

MHKA Anvers « Bruise and Lustre » (2015) ; Kadist Foundation Paris Comot your Eyes Make I borrow you Mine (2015) ; Portikus, Francfort / Main, Allemagne (2015) ; Unisono 28 : Otobong Nkanga - Taste of a stone, Stedelijk Museum Schiedam, Schiedam, Hollande (2015) ; Diaspore, 14 Rooms Basel, Suisse, (2014) ; In Pursuit of Bling, 8ème Biennale de Berlin, Berlin, Allemagne (2014) ; Glimmer Fragments - Symposium "Landing and confessions", Stedelijk Museum, Amsterdam, Pays-Bas (2014) ; 11ème Biennale de Sharjah, Sharjah, Emirats Arabes-Unis, (2013) ; Across the Board: Politics of Representation, Tate Modern, The Tanks, Londres, Royaume-Uni (2012) ; Inventing world: The Artist as citizen, Biennale du Bénin, Cotonou, Bénin (2012) ; Tropicomania: The Social life of Plants, Betonsalon, Center of art and research. Associated venue of La Triennale 2012 - Intense Proximity. Paris, France (2012) ; and Object Atlas - Fieldwork in the Museum, Weltkulturen Museum, Frankfurt-am-Main, Allemagne (2012) ; ARS 11, Kiasma Museum of Contemporary Art, Helsinki, Finlande (2011).

Text by Philippe Pirotte
2010

Born in the northern Nigerian town of Kano and currently based in Antwerp, Otobong Nkanga's drawings, installations, photographs and sculptures variously examine ideas around land and the value connected to natural resources

In the work of Nigerian artist Otobong Nkanga, activities and performance permeate all kinds of media and motivate photography, drawing, painting, sculpture, installation and video, though all the different works are thematically connected through architecture and landscape. As a human trace that testifies of ways of living and environmental issues, architecture and landscape act as a sounding board for narration and the performative. According to the artist herself, she uses her body and voice in live performances or in videos to become the protagonist in her work. However, her presence serves mostly as a self-effacing catalyst, an invisible hand that sets the artistic process in motion.

In this sense, the artist's presence is reminiscent of the self-portraits that Velazquez or Goya included in their bigger history paintings, which exposed the making of the artwork and created an image within an image.

Born in Nigeria and living in Antwerp, Belgium, Nkanga negotiates the completion of the cycle of art between the aesthetic realm of display and a strategy of desublimation that repeatedly pushes the status of the artwork into contingency. In his text about African conceptualism, Okwui Enwezor connected the latter strategy to African traditions.[1] Within a fluid system of exchanges and relationships between object, artist and au- dience, the object is important. When it comes to intention and meaning, however, the object paradoxically functions as an anti-perceptual entity, valuing or mobilising speech and oral communication.

An important project in relation to Nkangas ongoing examination of landscape and the value connected to natural resources beyond their marketability and immediate use was her "re-invention"[2] of "Baggage" (2007-08), a 1972 happening originated by the Ameri- can artist Allan Kaprow. In 1972, Kaprow, along with 20 students from Rice University in Houston, transported bags of sand from a campus construction site to a beach in Galveston, where they evacuated the bags contents and returned with sea sand. The action took place without an audience and the presentation of documentation was the only way in which the happening was translated to an art public. "Baggage" was one of many happenings conducted by Kaprow dealing with the displacement of goods from one place to another. In some of these happenings Kaprow paid attention to the differences in earth colour across America, and the strong contrast he observed when they met.


When Nkanga restaged "Baggage" (2007-08), the (art-historical) notion of "landscape" would take on an importance only vaguely understood in Kaprow's original version. packaged sand from the Netherlands was sent to Lagos and in return sand from Nigeria's Delta region was sent back to the Netherlands. By taking Dutch sand to the dramatically changing landscape of Nigeria, a country rich in oil, Nkanga strongly emphasises the notion of displacement between both continents. In the process, the artist re-politicised Kaprow's original happening. Although it is self- evident that the context of air travel, for both people and goods, has changed dramatically since 1972, the artist did not want to delve directly or too explicitly into the obvious political issues that are connected to the displacement of commodities today. She rather wanted to render a changing landscape hardly visible in a world today where products are transported from one continent to another and where the origins of products (raw materials) have gone through different transformations. As the artist explained in a conversation in August 2008, this work could be a metaphor of a situation where we see "displacement" in a broader context, as not only to the movement of goods, but also human displacement.


In many of her works Nkanga reflects metonymically on the use and cultural value connected to natural resources. Featured on the Studio museum's 2008 exhibition "Flow", her photographic diptych "Alterscapes" (2006) shows the artist as a demiurge, spilling an undefined blue liquid on a landscape. "Contained measures of Tangible memories" (2009), a more recent installation, features two duplicate mobile plinths on top of which the artist has placed five bowls containing mica, black soap, cassia fistula, indigo dye and alum, natural materials that are available in both morocco and Nigeria, but used in completely different ways. The work, shown on the 2009 Arts in marrakech biennial, explores how meaning and function are relative within cultures, and reveals different roles and histories for the same products, particularly within the context of the artist's autobiography and memories. Connected to the domain of art, perversity lingers in the idea that exploitation is fundamental to culture when culture is defined as the adaptation of natural resources towards human ends. Nkanga refrains from entering the realm of the perverse by only creating a vehicle for showing and transporting the resources, she does not make a new product out of them. (She repeated this strategy in her work "Contained measures of Fragments pointe Noire" (2009), which focuses on the specific colours of earth found in pointe Noire, Congo; bags of sand were pierced during the opening of the exhibi- tion and slowly spilled out to shape a new landscape within the installation.)

Nkanga's various photographic works evidence a more documentary approach to the interrogation of the implications of human acts and their effects on varied environments and contexts. In her series "Dolphin Estate" (2008), she photographed a Lagos housing estate that controversially employed prefabricated building techniques. Completed in 1992, Dolphin Estate has," explains the artist, "gradually fallen into a state of disrepair leaving the residents to take care for their daily needs such as water, electricity and deal with flooding problems". Nkanga's photographs show the results and conditions of a long lost dream. The American- sounding name of the housing estate, which comprises two-and three-bedroom flats and four-bedroom duplexes, suggests a suburban utopia, but in reality the buildings are often inadequately equipped. Dwellings are often improvised and added to. Nkanga's photographs show these makeshift alterations, which include large, vividly coloured water tanks precariously installed outside.

On a meta-level "Dolphin Estates" seems to tackle the moral questions connected to the aesthetics of non-architecture and the originality that animates parallel urbanity, as a source of inspiration for artists and archi-tects. Again, as in other works, it is a question that revolves around the paradoxes of exploitation.[3]
Nkanga's 2005 - 06 series of drawings, "Delta Stories", hover between a personal and a universal account of the resource-driven conflicts in the Niger Delta where the local population considers the exploitation of nature as a source of environmental problems and destruction. The positivistic classification of natural things, through observation, measurement and the application of purely quantitative methods, is considered to disrupt our rela- tionship to them and encourage the undesirable attitude that they are nothing more than things to be probed, consumed and dominated. The crisis in the Delta arose in the early 1990s over tensions between foreign oil corporations and a number of the region's minority ethnic groups. Competition for oil wealth, which forms part of an ongoing "scramble for Africa", has fuelled most of the violence, but the conflict is also symptomatic of a clash of opposing world-views. Some drawings resemble topographical maps punctuated by pins (standing for oil wells ?) indexing territorial occupation, although they also indirectly remind one of an animal skin, as a trophy to be taken. The level of abstraction brings to mind the legacy of colonial mapping; at the same time the distanced view invokes the positivism of science and technology, which not only removes our fear of nature, by promising limitless knowledge and power, but also destroys our sense of awe and wonder towards it.

Nkanga's "Delta Stories" (2005 / 06), and related drawing projects, like the "pointe Noire Fragments" (2009) or "Social Consequences I and II" (both 2009), form a meditation on the exploitation of natural resources in a mostly allegorical way. One of the most interesting principles in the artist's drawing method, which I would call a type of organic animation, is that she uses a part of the drawing or an entire sheet to test the colours to be used, these dots appear in a cluster in the top left corner and form a patchwork suffused with everything that comes out of it. It seems as if the drawings set themselves in motion, a characteristic which is most obvious
in "Social Consequences II", a six-page acrylic drawing where the patches give birth to a complete machinery ("The overload"), including corporate buildings with needles that threaten human silhouettes ("projectiles"), which in turn are occupied with an observation device ("piercing pressure"), directly connected to a mechanical apparatus ("hostage") moving disembodied arms extracting resources from the soil ("Wastescape"), and in the end piercing wells that spoil water ("The overflow"). Covering the wide range of changes from human value creation to corporate value extraction, the representations of actions in a narrative, equated with the meanings that lie outside the narrative itself, hint "ex negativo" to the corporate world, which achieved monopoly control, prohibiting locals by law from competing against corporations in extracting resources or selling them goods. [4]


In his later work, German philosopher Theodor Adorno advocated an aesthetic attitude of "sensuous immediacy" towards nature. Adorno borrows the term, which he considers the defining characteristic of art, from Hegel's "Aesthetics" (1885). In his own "Aesthetic Theory"(2004) Adorno considers "the sensuous" as part of aesthetic understanding, which is considered a resistant quality against quantification or a quality that remains after the violence of naming and categorising. Aesthetic understanding makes note of the sensuous, the non-rational, that is
so often dismissed as merely irrational and that cannot be exhausted by rational codification. This means an acknowledgement of the possibilities to be directly and spontaneously acquainted with nature without interventions of our rational faculties. Adorno refers to the "excess" in works of art, something more than their mere materiality and exchange value, which is akin to natural things, and should therefore be able to re- enchant the world through aesthetic experience, which would at the same time be a re-enchantment of lives and purposes. [5]

Otobong Nkanga acknowledges this in her work, but at the same time expresses scepticism. In her recent sculpture, "The Operation" (2008), which Nkanga showed as a part of her "Contained Measures" installation in Las Palmas, she suspended the root of an orange tree from a wall in the Casa Africa gallery. Decorated with Tillandsia plants, the severed root was pierced with long stainless steel needles. A key gesture in Nkanga's work, the piercing was done with scientific precision.

 

Notes

1. Okwui Enwezor, "Where, What, Who, When: A Few Notes on African Conceptualism", in: Global Conceptualism: points of origin, 1950s - 1980s, (New York: Queens museum of Art, 1999), p.110.
2. It is in the nature of the time- and performance-related work of American artist Allan Kaprow that, in principle, a happening - or an "activity" as he called his work later on - cannot be repeated. Nevertheless, Kaprow himself re-enacted a large number of pieces on several occasions. In the 1980s he made the first "re-inventions", often with surprisingly changed ingredients and outcome. According to Kaprow activities and happenings do not grow old over the years; it is not nostalgic to repeat works but rather a challenge to adapt them to the moment, to the issues and themes, maybe even the fashion of today - as long as the "central metaphor", as he called it, was maintained. By this the works stay contemporary, comparable to the transmissions of content in oral history. See: philippe pirotte, - participation. A Legacy of Allan Kaprow -, in An Invention of Allan Kaprow for the moment, philippe pirotte (Kunsthalle Bern, 2009), p.9.

3. See paola Berenstein Jacques, Esthetique des Favelas, L'harmattan, paris, 2002
4. The corporation, as a virtual entity, mediates all lateral contact between people or small companies and businesses, and it redirects all created value to a select group of investors. According to artist Walead Beshty, corporations are a multitude of voices congealed into a singular entity, a transcription of an ephemeral set of compromises and competing agendas given a unified voice. Beshty further notes Gilles Deleuze's characterisation of the corporation as a spirit and wonders what it means for that ghost to speak. Like most innovations of the colonial era persisting in postcolonial times, that ghost extracts value from the so-called periphery and brings
it back to the so-called centre. See Walead Beshty, "American Ingenuity (And the Failure of the Readymade)", in Afterall magazine No. 17 (Antwerp, London, Los Angeles, 2008), p.23.
5. Some students of Adorno's work have recently argued that his account of the role of "sensuous immediacy" can be understood as an attempt to defend a "legitimate anthropomorphism" that comes close to a weak form of animism. See Jay Bernstein, Adorno: Disenchantment and Ethics (Cambridge: Cambridge University press, 2001), p.196.

 

Expositions personnelles

2018
Otobong Nkanga: To Dig a Hole that Collapses Again, MCA - Museum of Contemporary Art, Chicago, US

2017
The Breath From Fertile Grounds, Temple Bar Gallery + Studios, Dublin, IR
The encounter that took a part of me, Kunstal Aarhus, DK

2016
Cracks Around The Corner, IN SITU - fabienne leclerc, Paris, FR
Landversation Beirut, Beirut Art Center, Beyrouth, LB
Transhistory, Museum Arnhem, Arnhem, NL
The Encounter That Took a Part of Me, Nottingham Contemporary, Nottingham, UK

2015
Comot Your eyes make a borrow you mine, Fondation Kadist, Paris, FR
Crumbling Through Powdery Air, Portikus, Francfort, DE
Unisono 28 : Otobong Nkanga - Taste of a stone, Stedelijk Museum Schiedam, Schiedam, NL
Bruises and Lustre, M HKA, Anvers Museum, Anvers, BE
Tracing confessions, Museum Folkwang, Essen, DE

2014
Glimmer: Fragments in Landings: Confrontation and Confession, Stedelijk Museum, Amsterdam, Hollande, NL
Diaspore, Live performance at 14 Rooms, Bâle, CH

2012
Across the Board: Politics of Representation, performance and installation piece Contained Measures of Shifting States, Tate Modern, The Tanks, Londres, UK
However Long the Night, The Dawn Will Break, Lumen Travo Gallery, Amsterdam, NL
Contained Measures of Tangible Memories: Indigo Regina, L'appartement 22, Rabat, MA

2011
The Western Syndrome, (with Pirkle Jones), La Bank Gallery, Paris, FR

2010
No Be Today Story O!, Lumen Travo Gallery, Amsterdam, NL
L'edition Populaire #1, Vitrine Gallery, Anvers, BE

2009
Pointe Noire Fragments, Centre Culturel Français, Pointe-Noire, CG
Diagonal Views, Nieuwe Vide, Haarlem, NL

2004
Smokescreen, Fokus 2, (avec Jens Haaning), Kunstverein Springhornhof, Neuenkirchen, DE
On Fragile Grounds, Window Gallery and Objectif_exhibitions "CLOSE READING #3", Anvers, BE

2002
Classicism & Beyond, Fotofest 2002, Project Row Houses, Houston, Texas, US

 

Expositions collectives

2018 GENERAL REHEARSAL, A show in three acts from the collections of V-A-C, MMOMA and KADIST, Moscow Museum of Modern Art, Moscou, RU
Blind Faith : Between the Visceral and the Cognitive in Contemporary Art
, Haus der Kunst, Munich, DE Ouvert La Nuit, Villa Medicis, Rome, IT
2017
Être pierre, Musée Zadkine, Paris, FR
I am a native foreigner, Stedelijk Museum Amsterdam, Amsterdam, NE
The Tanks, Tate Modern, Londres, UK
Tous, des sang-mêlés, MAC VAL, FR
Manifesta Biennal, The European Biennal of Contemporary Art, Amsterdam, NE
The encounter that took a part of me, Kunstal Aarhus, DK
Carved To Flow, Documenta 14, Athènes, GR
Carved To Flow, Documenta 14, Kassel, DE
Belgian Art Prize, Bozar, BE
Le musée absent, WIELS, Bruxelles, BE
En toute modestie - Archipel Dirosa, Musée International des Arts Modestes (MIAM), Sète, FR
Colori, Castello di Rivoli Museum of Contemporary Art / GAM, Torino, IT
Beautiful Africa, La Galerie du 5e, Marseille, FR
En marge, IN SITU - fabienne leclerc, Paris, FR


2016
Kaleidoscope: Its Me to the World, Modern Art Oxford, UK
Life Itself, Moderna Museet, Stockolm, SE
Gwangju Bienniale, KR
EVA International, Ireland's Biennial, IR
ON/OFF, Centre Pompidou, Paris, FR
Biennale de Sydney, AU
Streamlines, Oceans, Global Trades and Migration, Kulturstiftung-des-bundes, Hambourg, DE
El Iris de Lucy, MUSAC MUSEUM, Castilla y Léon, ES

2015
La vie moderne, 13e Biennale de Lyon, FR
Take me (I am Yours) La Monnaie de Paris, FR
Eli and Edythe Broad Art Museum - Michigan State University, US

2014
Biennale de São Paulo, Bresil, BR
Diaspore, 14 Rooms, Bâle, CH
8th Berlin Biennale, DE
Animism, Ashkal Alwan/Home Workspace, Beyrouth, LB
Foreign Exchange/Ware & Wissen (or the stories you wouldn't tell a stranger), Weltkulturen Museum, Frankfurt-am-Main, DE

2013
The Megacity and The Non-City, Lagos Photo Festival 2013, Lagos, NG
Play! Recapturing the Radical Imagination, Göteborg International Biennial of Contemporary Art, Goteborg, SEEarth Matters: Land as Material and Metaphor in the Arts of Africa, National Museum of African Art, Smithsonian, Washington DC, US
Sharjah Biennial 11, Re: Emerge Towards a New Cultural Cartography, Sharjah, AE
Art Dubai 2013, Dubai, AE
Ja Natuurlijk, Gemeente Museum, Den Haag, NL
2012
Shuffling Cards - Mouvement Aléatoire des Cartes, Galerie des Grands Bains Douches de la Plaine, Marseille, FR
50 Days at Sea, Antwerp Pavilion, Shanghai Biennale, Shanghai, CN
Inventing World: The Artist as Citizen, Biennale Benin, Cotonou, BJ
Amsterdam Drawing, An Art Fair for Original Works on Paper, Amsterdam, NL
De Nederlandse Identiteit- Half Suiker, Half Zand, De recente geschiedenis door de ogen van mister Motley, Museum De Paviljoens, NL
Tropicomania: The Social Life of Plantes, Betonsalon, Center of art and research. Associated venue of La Triennale 2012 - Intense Proximity. Paris, FR
Object Atlas - Fieldwork in the Museum, Weltkulturen Museum, Frankfurt-am-Main, DE
2011
Don't/Panic, Durban Art Gallery, Durban, ZA
Connect, exposition collective avec Rijksakademie Alumni, Lumen Travo Gallery, Amsterdam, NL
The Altered Landscape, Photographs of a Changing Environment, Nevada Museum of Art, Reno, Nevada, US
MarklinWorld, Kunsthalle KAdE, Amersfoort, NL
The Collectors Show, Van Abbemuseum, Eindhoven, NL
L'inattendu du Tout Monde, Un Hommage a Goddy Leye, L'appartement 22, Rabat, invited by Art-O-Rama, Marseille, FR
All We Ever Wanted, Center of Contemporary Arts, Lagos, NG
Summer Show, Lumen Travo Gallery, Amsterdam, NL
Outre Mesures et Programmes Radio (Maps, Timelines, Radio Programmes), La Galerie Contemporary Art Center, Noisy-le-Sec, FR
Faites Comme Chez Vous, Raw Material Company, A center for art, knowledge and society. Dakar, SG
ARS 11, Kiasma Museum of Contemporary Art, Helsinki, FI
Africa, Objects and Subjects, Centro de Expositiones Fernan Gomez, Madrid, ES
Sentences on the Banks and Other Activities, Darat al Funun, Amman, JD
World Festival of Black Arts and Culture, Dakar, SG
Body Language, Lumen Travo Gallery, Amsterdam, NL
Make Yourself at Home, Kunsthal Charlottenbourg, Copenhagen, DK
CommonGround, Nieuw Dakota, Amsterdam, NL
Animism, Kunsthalle Bern, Bern, CH
Une Aiguille dans une Botte de Foin, Printemps des Poètes, Museédu Quai Branly, Paris, FR
Animism, Extra City Kunsthal and M HKA Museum van Hedendaagse Kunst, Anvers, BG


2010    

Sentences on the Banks and Other Activities, Darat al Funun, Amman, JD
World Festival of Black Arts and Culture, Dakar, SG
Body Language, Lumen Travo Gallery, Amsterdam, NL
The Production of Space, The Studio Museum Harlem, New York, US
Unfixed, CBK (Center for Contemporary Arts Dordrecht), Dordrecht, NL
There Is Always A Cup Of Sea To Sail In, 29th Biennial of Sao Paulo, Sao Paulo, BR
Make Yourself at Home, Kunsthal Charlottenbourg, Copenhagen, DK
Africa, Objects and Subjects, Palacio Revillagigedo, Gijon, ES
A Proposal For Articulating Works and Places (Part 2), Riso Museo d'Arte Contemporanea della Sicilia, Palermo, IT
Whose Map Is It? INIVA (Institute of International Visual Arts), Rivington Place, Londres, UK
Common Ground, Nieuw Dakota, Amsterdam, NL
Animism, Kunsthalle Bern, Bern, CH
Une Aiguille dans une Botte de Foin, Printemps des Poètes, Museé du Quai Branly, Paris, FR
Animism, Extra City Kunsthal and M HKA Museum van Hedendaagse Kunst, Anvers, BE

2009    
A Delicate Touch, Watercolors from the Permanent Collection, The Studio Museum Harlem, New York, US
AIM International Biennale 3rd Edition, Marrakech, MA
Autres Mesures, Curator Cécile Bourne-Farrell, Centre Photographique Ile de France, Pontault-Combault, FR
This is Now 2, L'Appartement 22, Rabat, MR

2008    
Re/Presentaciones: Ellas, Casa Africa, Las Palmas de Gran Canaria, Canary Island, ES
This is Now 1, L'appartement22, Rabat, invited to the 1st Johannesburg Art Fair, ZA
Delight, Arti et Amicitiae, Amsterdam, NL
Flow, The Studio Museum in Harlem, New York, US
Snap Judgments, Stedelijk Museum, Amsterdam, NL
Snap Judgments, Brooks Museum of Arts, Memphis, US

2007   
Africa Remix, Contemporary Art of a Continent, Johannesburg Art Gallery, Johannesburg, ZA
Simmels Gelijk, Over het IJ Festival, Amsterdam, NL
Allan Kaprow, Kunst Als Leben, Kunsthalle Bern, CH
Snap Judgments, The National Gallery of Canada, Ottawa, CA
Snap Judgments, Tamayo Museum, Mexico city, MX

2006    
1st Architecture, Art & Landscape Biennial of the Canaries, Canary Islands, ES
Snap Judgments, Miami Art Central, Miami, US
De Grote Oversteek, Stedelijk Museum, Zwolle, NL
Shared History/Decolonising the Image, Arti et Amicitiae, Amsterdam, NL
Generique, Galerie 14, Paris, FR
There & Back, La Casa Encendida, Madrid, ES
One Game - Many Worlds, Football in inter-cultural comparison, Münchner Stadtmuseum. Munich, DE
Snap Judgments, International Center of Photography, New York, US
Africa Remix, Zeitgenössische Kunst eines Kontinents, Mori Art Museum, Tokyo, JP

2005    
Belonging, Sharjah International Biennial 7, Sharjah, AE
North /South Lab, Tanzquartier, Vienna, AT
Africa Remix, Zeitgenössische Kunst eines Kontinents, Centre Georges Pompidou, Paris, FR
Africa Remix, Zeitgenössische Kunst eines Kontinents, Hayward Gallery, Londres, UK

2004    
Flying Circus Project, TheatreWorks Ltd, Singapore, CN
Do You Believe in Reality?, Taipei Biennial, TW
Free Territory, 26th Sao Paulo biennial, Sao Paulo, BR
Flash Right, Turn Left, Artwalk, Amsterdam, NL
Africa Remix, Zeitgenössische Kunst eines Kontinents Museum Kunst Palast, Düsseldorf, DE
Women Artist, No 4, Peter Hermann Gallery, Berlin, DE
Epifyten, De Klassieke Hortus als Voedingsbodem voor Hedendaagse Kunst, Hortus Botanicus, Amsterdam, NL

2003    
El Arte Con La Vida, VIII Biennale de la Habana, Havana, CU
MIP, International Performance Manifestation, CEIA, Belo Horizonte, BR
Transferts, Palais des Beaux-Arts, Brussels, BE
Shift and Wait, Collaborative work with Le Petit Jaunais Edition House. Maison de la Loire, Paris, FR

2002    
Awaiting Pleasures, Open Ateliers, Rijksakademie van beeldende kunsten, Amsterdam, NL
Classicism & Beyond, Fotofest, Project Row Houses, Houston, Texas, US
Observatorio # 3, Casa Camouflage, Bruxelles, BE
Dak-Art, 5th Biennale of African Contemporary Art, Dakar, SG
Rond Point, La Halle de Gombe, Kinshasa, CG
Observatorio # 1, Casa Camouflage, Brussels, BE
Made In Africa Fotografia, Biennale di Fotografia Africana/ Sparzio Oberdan, Milan, IT
En Direct De Bamako, Galerie Photo Fnac Etoile, Paris, FR
Dessins XXL, Le Lieu Unique, Nantes, FR

2001    
Memoires Intimes D'un Nouveau Millenaire, IV Biennale de la Photographie Africaine, Bamako, ML
Infamous Labels No 10, Bateau Phare collaborating with The Research program, ENSBA, Paris, FR


Performances

2015
Diaoptasia, BMW Tate Live : Performance Room, TATE MODERN, Londres, UK
Take Me I'm Yours, Monnaie de Paris, Paris, FR

2014
Diaspore, 14 Rooms, Art Basel, Bâle, CH
Glimmer: Fragments, Landing Symposium: Confrontation and Confessions, Stedelijk Museum, Amsterdam, NL

2013    
Glimmer: Aurum. Das Jubiläumsfestival, 50 years of the Berliner Künstlerprogramm des DAAD, 1963 - 2013, Berlin, DE
Glimmer, Berliner Herbstsalon, Maxim Gorki theatre, Berlin, DE
Face me, I Face you, Berliner Herbstsalon, Maxim Gorki theatre, Berlin, DE
Where Gist you, (avec Eunhye Hwang),  Berliner Herbstsalon, Maxim Gorki theatre, Berlin, DE
When all things flow, the bird sings, FF Temporary Autonomous Zone, Berlin, DE
Taste of a Stone: Itiat Esa Ufok, Sharjah Biennial 11, Sharjah, AE

2012    
Contained Measures of Shifting States, Across the Board: Politics of Representation, Tate Modern, The Tanks, Londres, UK
Sing, I will tell you who we be, Stedelijk Museum Bureau Amsterdam, NL
Contained Measures of a Kolanut, Tropicomania: The Social Life of Plants, Betonsalon, Center of Art and Research. Associated venue of La Triennale 2012 - Intense Proximity. Paris, FR
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Partitions (Performances), Fondation d'entreprise Ricard, Paris, FR

2011    
A Song for the Moment, Brussels living room Festival, Bruxelles, BR

2010    
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Festival Theatreformen, Braunschweig, DE
Tropicology, Nieuw Dakota, Amsterdam, NL
Things, Carla Mittersteig, Vienna, AT

2009    
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Arco Art Fair, Madrid, ES

2008    
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, Kunsthalle Bern, CH
Baggage 1972 - 2007-08, Allan Kaprow/Otobong Nkanga, De Appel, Amsterdam, NL

2006    
Arrested Moment before the State of Amnesia Crops in, 1st Architecture, Art & Landscape Biennial of the Canaries.
Unravelling, Arti et Amicitiae and the Muiderpoort Theatre, Amsterdam, NL

2005    
Dream in One Meter Square, Belonging, Sharjah International Biennial 7, Sharjah, AE
Surgical Hits #03, (The Needle), Tanzquartier, Vienna, AT

2004    
Surgical Hits #02, (The Needle), Theatre Works Ltd, Singapore, CN
Surgical Hits #01, (The Needle), Kunst Palast Museum, Düsseldorf, DE
On fragile grounds, Window Gallery and Objectif_Exhibitions as part of "Close Reading #3", Anvers, BG

2003    
Fractured Gaps, Group performance involving 6 dancers, Open Ateliers, Rijksakademie van Beeldende Kunsten, Amsterdam, NL
Shift and Wait, International Performance Manifestation, CEIA, Belo Horizonte, BR
State of Amnesia, International Performance Manifestation, CEIA, Belo Horizonte, BR
Perfect Measures, Transferts, Palais des Beaux-Arts, Bruxelles, BG


2002    
Sustained Suture, Rijksakademie van beeldende kunsten, NL
The new acquisition of Jennifer McBright, Classicism & Beyond, Fotofest 2002, Project Row Houses, Houston, Texas, US
Bomboyi, Ecole des Beaux-Arts Kinshasa, Chooseone Organisation, Paris, Rond Point, La Halle de Gombe, Kinshasa, CG

1999    
The Dual Match, (Footpitch), TOXIC, Chateau d'Oiron, Oiron, FR

 

Prix
BelgianArtPrize, 2017
Yanghyun Prize, 2015


Conférences


2018
Otobong Nkanga with Omar Kholeif, MCA Chicago, US
Rouse Visiting Artist Lecture: Otobong Nkanga, Harvard School of Design, Cambridge, Massachusetts, US
Otobong Nkanga in conversation with Caroline Hancock, Temple Bar Gallery + Studios, Dublin, IR

2017
Carriers ? a conversation between Otobong Nkanga, Vis Olivae and Laouta on working together on Carved to Flow, documenta 14, Athens, GR
Artist talk: Otobong Nkanga, Kunstal Aarhus, DK
2016 Workshop: Contained Measures of Shifting States, Bétonsalon - Center for Art and Resarch, FR

2014    
Shifting States- Platforms for Experimentation, Dutch Art Institute, DAI, Master program of ArtEZ, Arnhem, NL
Voice? Creature of Transition, Lecture performance, Studium Generale Rietveld Academie, Amsterdam, NL

2013    
Hans Ulrich Obrist in converstion with Otobong Nkanga, 1:54 Contemporary African Art Fair, London, UK
Facing the Opponen, Fieldwork at the Weltkulturen Museum Frankfurt, DE Kunsthistorisches Institut in Florenz, Max Planck Institut, Florence, IT
Artist Talk: with Otobong Nkanga, Institut für Raumexperimente, Universität der Künste Berlin, Berlin, DE
Art Basel Salon, The Global Artworld, Focus Africa, Basel, CH
Think-Tank II: Persecuted, Mourned, Pitied, Admired/Collected and Photographed, Weltkulturen Museum, Frankfurt, DE
Art as a meeting point, with Andrea Buddensieg, Otobong Nkanga and Joanna Warsza, discussion organized by Antje Majewski, FF Temporary Autonomous Zone, Berlin, DE
Sharjah Biennial 11 panel discussion with Hoor-Al-Qasimi, Yuko Hasegawa and Otobong Nkanga, Sharjah, UAE.
Think-Tank I: The administration of people and goods, Weltkulturen Museum, Frankfurt, DE
The Impossible Aesthetic: Situating Research in Arts and Social Sciences/Humanities, Artistic Research and Museum, Collections, Lessons from the Weltkulturen Museum, Frankfurt, Zentrum Moderner Orient, Berlin, DE
 
2012    
Otobong Nkanga with Catherine Wood, Part of the series The Tanks: Art in Action, London, UK
Permeabilities, Presentation of works and workshop with participants at CEIA, 8th international event, Belo Horizonte, BR
When the stage hits you, workshop with the Dutch Art Institute students, DAI, Master program of ArtEZ, Arnhem, NL

2011    
Art-iculate: A performative lecture by Otobong Nkanga, CCA, Lagos, NG
Tracks and traces of violences conferences, Lecture Performance by Otobong Nkanga, The University of Bayreuth, (BIGSAS), DE
Clark-Mellon Workshop: International Initiatives and Regional Collaboration, The Sterling and Francine Clark Art Institute, Williamstown, Massachusetts, US
6000 Collectors, Experimental Talks with Objects, Lecture by Otobong Nkanga, Weltkulturen Museum, Frankfurt am Main, DE
Presentation of project at Outre Mesures et Programmes Radio (Maps, Timelines,Radio Programmes), La Galerie Contemporary Art Center, Noisy-le-Sec, FR

2010    
Workshop and project, Intituto Buena Bista, Curacao Center for Contemporary Arts, Residency Program, Curacao, NL
Workshop Unfixed, Photography and postcolonial perspectives in contemporary art, CBK Dordrecht, NL
Memory as a photographic process, presentation at Unfixed Symposium, CBK Dordrecht, NL
Otobong Nkanga's works on Land and Mapping, presentation at Crossing Boundaries Symposium, Royal Geographical Society, London, UK
Presentation of works in Whose Map Is It?, INIVA (Institute of International Visual Arts), Rivington Place, London, UK
Artist talk at the Rijksakademie van Beeldende Kunsten, Amsterdam, NL

2009    
Workshop and project with the students of Haute École d'Art et de Design, Geneva, CH

2008    
Lecture and Workshop State of Bodies/ Suffering, Mieke van de Voort, Generale Staten and Game/Performance. Utrecht, NL
Discussion and round table at Foam Fotografie Museum, Amsterdam, NL
Studio Visits, Masters Programme, Dutch Art Institute (DAI), Enschede, NL

2006    
Seminar on African literature, Casa Encendida, Madrid, ES

Bibliographie

Publications - Revues

Cataogues

2014

Foreign Exchange/Ware & Wissen (or the stories you wouldn't tell a stranger). exhibition catalogue. Diaphanes publishers. Clementine Deliss et Yvette Mutumba, 2014  p. 101 - 102, 118, 133, 140, 150, 162 - 163, 290.

2013

Earth Matters: Land as Material and Metaphor in the Arts of Africa, National Museum of African Art, Smithsonian, 2013. p. 178 - 180.
Ja Natuurlijk/Yes Naturally : How art saves the world, Neit Normaal Foundation, Nai010 publishers, 2013. p. 88 -91

Play! Recapturing the Radical Imagination, Göteborg International Biennial of Contemporary Art, 2013. p. 90 - 91.

Sharjah Biennial 11. Re: Emerge Towards a New Cultural Cartography, 2013. p. 436 - 439.

Anselm Franke. Animism, 2013. p. 120 - 121.

2012

 

Tropicomania, La vie sociale des plantes.  Centre d'Art et de Recherche, 2012. p. 15.

Clementine Deliss, Object Atlas-Fieldwork in the Museum, Weltkulturen Museum, Kerber Forum,  p. 153-197.

2010
29th Biennial of Sao Paulo, 2010. p. 194-195.
Kunsthal Charlottenbourg Make Yourself at Home.  2010. p. 54-58, 98-99.
Africa. Objetos y Sujeto. Cajastur, 2010. p. 286-287.

Africa, Objects and Subjects. Palacio Revillagigedo, Gijon, Spain, 2010. p. 286-287.

Flow, The Studio Museum Harlem, 2008. p. 94-95.

2005    
MIP, International performance manifestation CEIA, p. 132-133, 164-165.
Belonging, 7th Sharjah Biennial, p. 354-357.

2004

Território Livre, 26th Sao Paulo Biennial, national representations, 2004. p. 238-239.

2003

Transferts, Brussels, 2003. page 138-143,

El arte con la vida. 8th Bienal de la Habana, 2003. p. 168, 329.

2002

Classicism & Beyond, Fotofest, 9th International Biennal of Photography, p. 176-179.

Dak'Art, V Biennale of African Contemporary Art, p. 50.

Michela Manservisi (curator).Made in Africa_fotografia. Epicentro, Italy, 2002. p. 78-79.
Dessins XXL. Filigranes, 2002.

2001

Akinbode Akinbiyi. Memoires Intimes d'un Nouveau Millenaire. IV Biennale de la Photographie Africaine, Bamako, Mali, 2001 p. 140-149.

Presse & Livres


2013

Zur Kunst. Susanne Leeb . Asynchronous Objects, Globalismus Globalism, Sep. 2013. p. 48, 52 - 53, 56.

Elvira Dyangani Ose." Across the Board: Otobong Nkanga and Nástio Mosquito".  Atlántica #53. Journal of Art and Though, 2013. p. 142-149.

Jan-Philipp Possmann, "Jenseits der Vitrine/Beyond the Vitrine", Spike Art Magazine No 35, 2013. p. 50, 53.

2012    
Dorina Hecht. "Mich interessiert das wo, was und warum". Artmap  Antwerpen, Winter 2012/13. p. 28-29.
Dagmar Mundhenke. "Object Atlas - Feldforshung im Frankfurter Weltkulturen-Museum". Africa Positive N° 45, 2012. p. 42.
Catherine Wood. "Re-make, Re-model" Frieze Masters, No 1, 2012. p. 38-39.

Sara Blokland and Asmara Pelupessy. Unfixed, Photography and postcolonial perspectives in contemporary art.  Unfixed projects Japsam books,  2013. p. 48-53 et p. 202-204.

MärklinWorld : A model of the world by 40 artists, exhibition catalogue, KA Series 14, Kunsthal KAdE, p.123.
Altered Landscape : Photographs of a changing environment. Collection of the Nevada Museum of Art, ed. Ann M. Wolfe, Skira Rizzoli publications Inc., p. 56-57.

2010   
Social Consequences, de Philippe Pirotte, in: Art South Africa, Volume 09, Issue 01, Spring 2010, p. 66-69.

Okwui Enwezor & Chika Okeke-Agulu.Contemporary African Art since 1980. 2010. p. 280, 327.
Animism. Anselm Franke Volume I, 2010. p. 211-212.

2009    
An intervention of Allan Kaprow for the moment, documentation of all Re-Interventions and Re-enactments of Happenings and Environments, Kunsthalle Bern.
Foam Album 08, 2nd Edition, p. 184.
Kunstbeeld.nl Magazine, Het tijdschrift voor beeldende kunst, Nr 9 2009, p. 16-17.

2008    

Sean O'Toole. Frieze Magazine, Issue 116, Jun-Aug. 2008.
Le Monde Diplomatique,: 55e année - N° 653, Aug 2008 , p. 25.
Vincent Solomon. "Seeing Africa through African eyes". Amsterdam Weekly, 17-30th Jul. 2008. p. 10.
ZAM Magazine, Africa Magazine, no. 2, Summer 2008.  p. 20-21.
"New Talents". Blend NL Magazine n°31, July. 2008. p. 55.


2006    
1st Architecture, Art & Landscape Biennial of the Canaries, Canary Island, 2006. p. 256-257.
Okwui Enwezor. Snap Judgements, New positions in contemporary African Photography. 2006. p. 34, 160-165, 367.

2004    

Zonder internationale uitwisseling geen kunst; De Stelling, een gesprek met Otobong Nkanga, by Saskia Monshouwer, in:  Kunstbeeld, no. 9, p. 48-49.
Africa Remix, Zeitgenössische kunst eines kontinents, Museum Kunst Palast, p. 214-215.
Shifting Map, Artists' platform and strategies for cultural diversity, RAIN Artists' Initiatives Network, Nai publishers Rotterdam, p. 46.
Epifyten, de klassieke hortus als voedingsbodem voor hedendaagse kunst!, Hortus Botanicus Amsterdam, p. 19-21.

2003    
Flash Art, Nov - Dec. 2003. p. 88.
Christine Vuegen. "Mondiale Maalstroom". Kunstbeeld, n° 6, 2003. p. 10-11.
Walter Sebastiao. "No Palco, Vitoria de Visibilade". Estada de Minas - Sexta Fiera, Brasil, 2003.
Lars Kwakkenbos. "Kunst met Afrikaanse roots". De Standard, Belgium, 2003.

2002    
Flash Art International, Vol. XXXIV no. 225,July - Sep 2002. p. 49, 59.
Simon Njami. Blink, 100 Photographers 10 Curators 10 Writers. Phaidon Press, London, 2002, p. 276-279.
Robbert Roos. "PF fotographie (BLINK)" . Magazine voor fotographie en imaging, n° 6, 2002. p. 16-18.

2001    
N'gone Fall. "Anthologie de l'Art African du vingtieme siècle". Revue Noire, 2001 , p. 396-397.
Telerama. n° 2702, 2001 p. 68-69.
Jean Loup Pivin. "Nigeria". Revue Noire. n° 30, Paris, 2001 . p. 38-39

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