What we are making in one space empties another… [Something] needs to be working, doing something that allows for regeneration, repair… There needs to be a time for fake dormancy. — Otobong Nkanga*

Following her year-long residency at the institution, an exhibition of work by Otobong Nkanga—THERE’S NO SUCH THING AS SOLID GROUND—is now on view at Gropius Bau.

The show is curated by Stephanie Rosenthal with Clara Meister. See link below for details.

OTOBONG NKANGA—THERE’S NO SUCH THING AS SOLID GROUND

Through December 13.

Gropius Bau

Niederkirchnerstrasse 7, Berlin.

Otobong Nkanga, There’s No Such Thing as Solid Ground, Gropius Bau, July 10, 2020–December 13, 2020, from top: the artist in front of Manifest of Strains and Double Plot; Taste of a Stone, 2020, site-specific installation, erratic blocks, gneiss, granite, inkjet printing on limestone, reindeer moss, marble gravel, movements, plants, photograph by Luca Girardini; Diaspore, 2014, site-specific installation and performance, Basel, topographic map (inkjet printing) laminated on floor, Cestrum nocturnum, plant pots, photograph by Andri Pol; Contained Measures of Shifting States—Evaporate, 2020, table, aspirator, distilled water, heating plate, photograph by Laura Fiorio; We Could Be Allies, 2020, acrylic paint, poems ink-jet printed on cotton fabric, metal, photograph by Fiorio; Solid Maneuvers, 2020, various metals, acrylic, asphalt, forex, make-up, salt, vermiculite, photograph by Fiorio; Solid Maneuvers, 2015, installation view Crumbling Through Powdery Air, 2015, Portikus, photograph by Helena Schlichting, courtesy and © the artist and Portikus; Carved to Flow, 2020, with architect and researcher Nuno Vasconcelos, photograph by Fiorio; Nkanga; Manifest of Strains and Double Plot, 2020, carpet (woven textile and photography), yarns (viscose, polyester, organic cotton, sheep’s wool), acrylic and inkjet printing on five laser-cut metal plates, photograph by Fiorio. Images courtesy and © the artist, the photographers, and Gropius Bau.