Hiwa K – Blind as the Mother Tongue, exhibition shot from video installation.
Two of our favorites at the New Museum as well: Anna Boghiguian and Hiwa K.
We knew Anna Boghiguian’s since it was first shown in Stockholm at Index Foundation last year, but it was great to see her works in a larger space, very impactful and thought provoking narratives of coloniality and its aftermaths through paintings, installation and tens of sketches and collages in addition to her writings on the exhibition walls. The wall for Boghiguian is a sirface for writing while most of her works are presented in space, in The Loom of History we circulate amidst an ocean of narratives both big and small in the space controlled by the colored walls that function like a horizon line.
In the next room, a wonderful exhibition Blind as the Mother Tongue by Hiwa K (b. 1975, Kurdistan-Iraq), with careful and precisely placed videos, photographs, sculptures and wall pieces commenting on travel, migration, habitation and the political situation in Iraq, as well as dealing more abstractly with concepts of decoloniality using a precise conceptual vocabulary and extremely human at the same time. There is a critical sharpness and a warmth in K’s work which we enjoyed very much.
From the New Museum website:
“Blind as the Mother Tongue,” his first solo exhibition in the US, gathers a selection of works that address experiences of estrangement and alternative modes of seeing, learning, and remembering. The exhibition will include the artist’s recent video Pre-Image (Blind as the Mother Tongue) (2017), which debuted at documenta 14 in Athens and presents a powerful allegory for the experience of exile. The exhibition also includes several video works that take up the political histories and trauma specific to Sulaymaniyah, the artist’s hometown in Kurdish Iraq. For his New Museum exhibition, Hiwa K will debut a new sculpture that gives shape to his recent inquiries into early colonial encounters between the Inca and Spanish Empires, and reflects on misperception and misinterpretation in the circulation of culture.
The exhibition is curated by Natalie Bell, Associate Curator.”