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BERGEN KUNSTHALL/CASCO - OFFICE FOR ART, DESIGN AND THEORY
The Otolith Group: World 3
Edited by Kodwo Eshun, Anjalika Sagar, Martin Clark, Steinar Sekkingstad.
World 3 complements The Otolith Group's exhibition at Bergen Kunsthall, In the Year of the Quiet Sun, which revisits moments from the grand political project of mid-century Pan-Africanism, envisioned by revolutionaries such as W.E.B. Du Bois, George Padmore, Frantz Fanon and Kwame Nkrumah as the total liberation of the African continent from Europe through the building of a United States of Africa. One key work in the exhibition is "Statecraft," where the short century of decolonization is represented through a political calendar assembled from the unlikely and anaesthetic medium of the postage stamp. Gesturing toward this piece, World 3 also employs the postage stamp as its main visual medium. The oversized volume assembles a trialogue between First Day Covers from newly independent African states, envelopes from the diaspora of the digital auction and an associative inventory of quotations from various activists and intellectuals, beautifully documenting the spirit of a powerful ideological movement.
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FORMAT: Pbk, 10 x 13 in. / 208 pgs / illustrated throughout. LIST PRICE: U.S. $50.00 LIST PRICE: CANADA $67.5 ISBN: 9788293101178 PUBLISHER: Bergen Kunsthall/Casco - Office For Art, Design And Theory AVAILABLE: 4/28/2015 DISTRIBUTION: D.A.P. RETAILER DISC: TRADE PUBLISHING STATUS: Active AVAILABILITY: In stock TERRITORY: NA LA ASIA
Published by Bergen Kunsthall/Casco - Office For Art, Design And Theory. Edited by Kodwo Eshun, Anjalika Sagar, Martin Clark, Steinar Sekkingstad.
World 3 complements The Otolith Group's exhibition at Bergen Kunsthall, In the Year of the Quiet Sun, which revisits moments from the grand political project of mid-century Pan-Africanism, envisioned by revolutionaries such as W.E.B. Du Bois, George Padmore, Frantz Fanon and Kwame Nkrumah as the total liberation of the African continent from Europe through the building of a United States of Africa. One key work in the exhibition is "Statecraft," where the short century of decolonization is represented through a political calendar assembled from the unlikely and anaesthetic medium of the postage stamp. Gesturing toward this piece, World 3 also employs the postage stamp as its main visual medium. The oversized volume assembles a trialogue between First Day Covers from newly independent African states, envelopes from the diaspora of the digital auction and an associative inventory of quotations from various activists and intellectuals, beautifully documenting the spirit of a powerful ideological movement.
