{"id":13178,"title":"Social Consequences II: The Overload - Projectiles - Piercing Pressure - Hostage - Wastescape - The Overflow","dimensions":"§ x (29 x 42 cm)","date_begin":"2009-01-01","material":"stickers, acrylic on paper","art_status_id":13,"legal_status_id":47,"category_id":20,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"Collection Wim van Dongen","cached_tag_list":"Otobong Nkanga IN SITU Social Consequences The Overload Piercing Pressure Hostage Wastescape The Overflow","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":23,"permalink":"social-consequences-ii-the-overload-projectiles-piercing-pressure-hostage-wastescape-the-overflow","description_ca":null,"short_description_ca":null,"description_it":null,"short_description_it":null,"cached_primary_asset_url":null,"cached_actor_names":null,"hide_from_json":false,"prev_platform_id":null,"description_uk":null,"short_description_uk":null,"description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Drawing","nl":"Tekening","fr":"Dessin"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/029/872/large/SocConseqIIOverloadtoOverflow.jpg?1443536836","poster_credits":"Collectie Wim van Dongen","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eSome frequently recurring elements in Nkanga\u0026#39;s drawings refer to landscapes and maps, needles, colour samples and bodies or body parts turning into something else. In\u0026nbsp; her drawings, Nkanga examines or describes elements that cannot be captured in words. Quite often, the drawings also serve as a preliminary study, or they are a by-product of her performances.\u003c/p\u003e\u003cp\u003eThe needles that seem to pierce many of the drawings refer to the need of people to subdue the earth to their will. In the past, emissaries from western empires travelled around the world and planted flags everywhere. They appropriated territories without any consultation with the indigenous population; a needle on a world map indicated their property.\u003c/p\u003e\u003cp\u003eFurthermore, the needles refer to Nkanga\u0026#39;s desire to scrutinise the world and to investigate all mysteries as thoroughly as possible. The works often find themselves on the borderline between colonial history and Nkanga\u0026#39;s own version of history. Yet her work is not overloaded by this difficult history, nor does it avoid it.\u003c/p\u003e\u003cp\u003eWhen examining the Earth (at various levels: through geology, mineralogy, cartography, economy etc.), humans are often overlooked. Layers are analysed, minerals removed, profits calculated, holes drilled, raw materials shipped, forests cut down \u0026ndash; and huge scars left. These procedures are planned and studied in advance, but the impact on people is often seen as incidental or unimportant. The one who has placed a needle is the owner of the land and may do with it as he pleases. There is no regard for the broader application of the land either, or for the importance it may have for the customs, rituals and experiences of the inhabitants. Still, value is not only related to monetary transactions, it may also be linked to culture or knowledge. The economical, socio-cultural and political is interconnected and it are these connections that Nkanga wants to expose.\u003c/p\u003e\u003cp\u003eThe colour samples, which are often applied to the drawing, show the starting point of the work. From this patchwork of colours, the drawing is put in motion.\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003eBepaalde elementen in de tekeningen van Nkanga\u0026nbsp; verwijzen naar landschappen, landschapskaarten, naalden, kleurstalen en lichamen of lichaamsdelen. In haar tekeningen onderzoekt of beschrijft ze elementen die niet in woorden kunnen gevat worden. Dikwijls zijn de tekeningen ook een voorstudie of een bijproduct van haar performances.\u003c/p\u003e\u003cp\u003eDe naalden, die veel tekeningen lijken te doorboren, refereren aan de menselijke nood om de aarde te onderwerpen aan hun wil. Gezanten van westerse landen reisden de wereld rond en plaatsten overal vlaggen. Ze eigenden zichzelf gebieden toe zonder overleg met de oorspronkelijke bevolking. Een naald op een wereldkaart duidde eigendom aan.\u003c/p\u003e\u003cp\u003eDaarnaast\u0026nbsp; verwijzen de naalden naar Nkanga\u0026rsquo;s drang om de wereld te doorgronden en alle mysteries zo grondig mogelijk te onderzoeken. De werken van Nkanga bevinden zich vaak op de scheidingslijn tussen de koloniale geschiedenis en haar eigen interpretatie van de geschiedenis.\u003c/p\u003e\u003cp\u003eBij de studie van de aarde (op verschillende niveaus: geologisch, mineralogisch, cartografisch, economisch, \u0026hellip;) wordt de mens vaak over het hoofd gezien. Er worden lagen weg geschraapt, mineralen weggehaald, winsten berekend, gaten geboord, grondstoffen verscheept, bossen gekapt en enorme littekens achtergelaten. Deze procedures worden op voorhand gepland en bestudeerd, maar de impact op de mens wordt vaak als bijkomstig of onbelangrijk gezien. Degene die een naald plaats is immers eigenaar van de grond en mag er dus mee doen wat hij wil. Er is ook geen aandacht voor de bredere toepassingen van het land of het belang dat het land heeft bij gebruiken, rituelen en de beleving van de bewoners. Waarde komt niet enkel uit monetaire transacties, het kan ook cultuur of kennisgebonden zijn. Het economische, socioculturele en politieke is onderling verbonden en het zijn deze connecties die Nkanga bloot wil leggen.\u003c/p\u003e\u003cp\u003eDe kleurstalen die vaak op de tekening worden aangebracht, tonen het beginpunt van het werk. Vanuit dit lappendeken aan kleuren wordt de tekening in gang gezet.\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003eQuelques \u0026eacute;l\u0026eacute;ments r\u0026eacute;currents dans les dessins de Nkanga r\u0026eacute;f\u0026egrave;rent aux paysages et aux cartes topographiques, aux aiguilles, aux nuanciers, aux corps ou parties de corps qui se m\u0026eacute;tamorphosent. \u0026Agrave; travers ses dessins, Nkanga analyse ou d\u0026eacute;crit des \u0026eacute;l\u0026eacute;ments que les mots ne peuvent pas exprimer. Souvent, ses dessins constituent des \u0026eacute;tudes pr\u0026eacute;liminaires ou une documentation de ses performances.\u003c/p\u003e\u003cp\u003eLes aiguilles qui paraissent transpercer bon nombre de ses dessins symbolisent le besoin des \u0026ecirc;tres humains d\u0026rsquo;assujettir la terre \u0026agrave; leur volont\u0026eacute;. Autrefois, ce furent les Occidentaux qui sillonnaient les mers et les continents pour s\u0026rsquo;approprier des territoires sans aucune concertation avec la population autochtone. Une aiguille sur une mappemonde indiquait le territoire que l\u0026rsquo;on s\u0026rsquo;\u0026eacute;tait appropri\u0026eacute;.\u003c/p\u003e\u003cp\u003ePar ailleurs, les aiguilles renvoient aussi \u0026agrave; l\u0026rsquo;aspiration de Nkanga de sonder le monde et d\u0026rsquo;analyser en profondeur tous les myst\u0026egrave;res. Les \u0026oelig;uvres de Nkanga se situent souvent \u0026agrave; la fronti\u0026egrave;re entre l\u0026rsquo;histoire coloniale et sa propre interpr\u0026eacute;tation de l\u0026rsquo;Histoire.\u003c/p\u003e\u003cp\u003eL\u0026rsquo;\u0026eacute;tude de la terre (\u0026agrave; diff\u0026eacute;rents niveaux\u0026nbsp;: g\u0026eacute;ologique, min\u0026eacute;ralogique, cartographique, \u0026eacute;conomique\u0026hellip;) n\u0026eacute;glige souvent l\u0026rsquo;\u0026ecirc;tre humain. On analyse des strates, on extrait des min\u0026eacute;raux, on calcule des b\u0026eacute;n\u0026eacute;fices, on fore le sol, on transporte des mati\u0026egrave;res premi\u0026egrave;res, on abat des for\u0026ecirc;ts et on laisse d\u0026rsquo;\u0026eacute;normes cicatrices. Ces proc\u0026eacute;d\u0026eacute;s sont planifi\u0026eacute;s et \u0026eacute;tudi\u0026eacute;s, mais l\u0026rsquo;impact sur l\u0026rsquo;homme est souvent consid\u0026eacute;r\u0026eacute; comme accessoire, voire sans importance. Celui qui a plant\u0026eacute; une aiguille est le propri\u0026eacute;taire du territoire et peut donc en faire ce qu\u0026rsquo;il veut. Ils sont indiff\u0026eacute;rents \u0026agrave; toute autre affectation de la terre susceptible d\u0026rsquo;assurer l\u0026rsquo;existence de plus larges communaut\u0026eacute;s, insensibles \u0026agrave; l\u0026rsquo;importance attach\u0026eacute;e aux coutumes, usages, rituels et au v\u0026eacute;cu des habitants. La valeur ne r\u0026eacute;sulte pas seulement de transactions financi\u0026egrave;res, mais peut \u0026ecirc;tre li\u0026eacute;e \u0026agrave; la culture ou \u0026agrave; la connaissance. L\u0026rsquo;\u0026eacute;conomique, le socio-culturel et le politique sont \u0026eacute;troitement li\u0026eacute;s et ce sont pr\u0026eacute;cis\u0026eacute;ment ces liens que Nkanga veut d\u0026eacute;voiler.\u003c/p\u003e\u003cp\u003eLes nuanciers qu\u0026rsquo;on aper\u0026ccedil;oit souvent sur les dessins font en quelque sorte fonction de fen\u0026ecirc;tre de d\u0026eacute;gagement\u0026nbsp;; ils permettent de voir le patchwork de couleurs \u0026agrave; partir duquel la r\u0026eacute;alisation de l\u0026rsquo;\u0026oelig;uvre est enclench\u0026eacute;e.\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[{"id":2752,"name":"Otobong Nkanga","category":{"en":"Creator","nl":"Vervaardiger","fr":"Créateur"}}]}