For many artists living in “developing” parts of the world, art and life are not viewed as mutually exclusive. An often volatile political climate means that politics is omnipresent, and artistic practice cannot avoid being reflexive of this. One could deduce that artists working in these regions reflect their surroundings, making artwork that is proximate to reality.
Investigating Kenya’s adoption of the British colonial system of queuing, Peterson Kamwathi Waweru explores the act of the masquerade as a masked performance or ritual within this system of behavior. In so doing, he observes how infused politics determines interaction during these social events.
Simon Vega in turn destabilizes the traditional role of the observer by inventing his own system of surveillance (cameras and monitors) using found materials. Vega thus appropriates the power of the observer and subverts traditional systems of control. Ironically, even though the cameras are inoperable, one cannot deny the feeling of being watched . . .
Inspired by sociopolitical beliefs and systems of behavior imposed by their surroundings, the art of both Waweru and Vega is rooted in, and interrogative of, the politics of everyday life.
Artists
Waweru Peterson (KE), Simon Vega (SV)Claire Breukel
Claire Breukel began her career curating the 2002 Cape Town Month of Photography biennale and the Vision Photography Festival before being introduced to Miami by the Rubell Family Collection. In Miami, Breukel was Executive Director of Locust Projects, a renowned alternative non-profit exhibition space. Following this she became nomadic in her role as Coordinator of PUMAVision and Curator of PUMA. As a creative person she is developing the arts specifically within Africa and the Caribbean region. She has curated exhibitions in South Africa, New York, Miami, El Salvador and Vienna. She writes for ArtPulse, Arte al Dia and Eikon magazine, and weekly for the online New York blog Hyperallergic.
Galerie Hilger Contemporary
Dorotheergase 5, 1010 Wienwww.hilger.at