Enough Room for Space

🎬 Picha Cinéma – Projection spéciale ✨ Avec Tracer ✨ Demain, vendredi 19 décembre 2025, rendez-vous au Centre d’art et de recherche Picha pour la projection du film Changwe Yetu, suivie d’une discussion avec le collectif. Le film prolonge l’expo-performance présentée le 19 novembre au Park Hotel et s’inscrit dans le projet Panneau n°8 du collectif international TRACER, qui explore mémoire, art et création contemporaine. 🎬 Picha Cinema – Special screening ✨ With Tracer ✨ Tomorrow, Friday, December 19, 2025, meet at the Picha Art and Research Center for the screening of the film Changwe Yetu, followed by a discussion with the collective. The film extends the exhibition-performance presented on November 19 at the Park Hotel and is part of the project Panel No. 8 of the international collective TRACER, which explores memory, art and contemporary creation. #PichaCinéma #ChangweYetu #PichaArtCenter #LubumbashiCulture #FilmScreening #DiscussionAvecArtiste #ArtEtMémoire #TRACER #Panneau8 #ContemporaryArt #RDCulture

🎙️ Picha Talk – Épisode 25 🎙️ ✨ avec Emmanuelle Nsunda ✨ Dans le cadre des activités de recherche et de création menées à Lubumbashi, @picha_art_center reçoit Emmanuelle Nsunda, artiste engagée dans l’écriture, la curation et la production. Dans cet épisode, Emmanuelle revient sur le projet du Panneau n°8 et sur le collectif international TRACER, porteur de cette initiative. Elle explique comment ce projet, à la croisée de l’art, de la mémoire et de la recherche, éclaire sa présence à Lubumbashi et nourrit un dialogue avec les scènes locales. Elle évoque également la projection du film Changwe Yetu, suivie d’une discussion prévue vendredi 19 décembre 2026 au Centre d’art et de recherche Picha, prolongeant l’expo-performance présentée le 19 novembre au Park Hotel. En parallèle, TRACER et le Panneau n°8 sont en résidence chez Enough Room for Space (ERforS) en Belgique, dans le cadre du programme « Institute of Colonial Culture », initié par Maarten Vanden Eynde, en partenariat avec le MNB et l’UNILU. Membres actifs du collectif 🎙️ Picha Talk - Episode 25 🎙️ ✨ with Emmanuelle Nsunda ✨ As part of the research and creative activities conducted in Lubumbashi, @picha_art_center receives Emmanuelle Nsunda, an artist engaged in writing, curation and production. In this episode, Emmanuelle returns to the Panel No. 8 project and to the international collective TRACER, which is responsible for this initiative. She explains how this project, at the crossroads of art, memory and research, illuminates her presence in Lubumbashi and nurtures a dialogue with local scenes. She also mentions the screening of the film Changwe Yetu, followed by a discussion scheduled for Friday, December 19, 2026 at the Picha Art and Research Center, extending the exhibition-performance presented on November 19 at the Park Hotel. In parallel, TRACER and Panel No. 8 are in residence at Enough Room for Space (ERforS) in Belgium, as part of the « Institute of Colonial Culture » program, initiated by Maarten Vanden Eynde, in partnership with the MNB and UNILU. #PichaTalk #EmmanuelleNsunda #TRACER #PanneauNumero8 #ShangweYetu #PichaArtCenter

SWIPE➡️ 📸 Retour en images — TRACER Une plongée dans la mémoire artistique congolaise Avant-Hier le 19 novembre 2025, au Park Hotel, le public a découvert TRACER en collaboration avec le @picha_art_center et la @biennale_de_lubumbashi , une recherche artistique collective réunissant des artistes basés en Belgique, en Hollande et en RDC. Une exploration sensible autour d’un panneau de décor peint par Mwenze Kibwanga pour le spectacle Changwe Yetu (1956), et une réflexion sur l’héritage vivant des peintres du Hangar conservé au Park Hotel. La soirée a été rythmée par une prestation musicale vibrante de Sando Marteau, marchant sur les traces de Jean-Bosco Mwenda wa Bayeke et insufflant une énergie contemporaine à cette rencontre entre mémoire, art et transmission _____ 📸 Images Recap — TRACER A dive into Congolese artistic memory The day before yesterday on November 19, 2025, at the Park Hotel, the public discovered TRACER in collaboration with the @picha_art_center and the @biennale_de_lubumbashi , a collective artistic research project bringing together artists based in Belgium, the Netherlands, and the DRC. A sensitive exploration of a stage backdrop painted by Mwenze Kibwanga for the 1956 performance Changwe Yetu, and a reflection on the living heritage of the Hangar painters preserved at the Park Hotel. The evening was animated by a vibrant musical performance by Sando Marteau, walking in the footsteps of Jean-Bosco Mwenda wa Bayeke and infusing contemporary energy into this encounter between memory, art, and transmission. 📸 @you.mister.g #Tracer #Picha #PichaArtCenter #CongoleseArt #HangarPainters #MwenzeKibwanga #JeanBoscoMwenda #SandoMarteau #ArtHeritage #LubumbashiArt #CongoCulture #ContemporaryArtAfrica #ArtResearch #MemoryAndArt #ParkHotelLubumbashi

TRACER — Une plongée dans la mémoire artistique congolaise TRACER est une recherche artistique collective réunissant des artistes basés en Belgique, en Hollande et en RDC. Elle revisite l’histoire d’un panneau de décor peint par Mwenze Kibwanga pour le spectacle Changwe Yetu, présenté à Lubumbashi en 1956, et interroge l’héritage des peintres du Hangar conservé au Park Hotel. Demain, au Park Hotel, retrouvez cette présentation exceptionnelle, accompagnée d’une prestation musicale de Sando Marteau sur les traces de Mufwankolo, pour une soirée mêlant mémoire, art et vibration contemporaine. 📅 Mercredi 19 novembre 2025 — 17h30 📍 Park Hotel, Lubumbashi _____ TRACER — A dive into Congolese artistic memory TRACER is a collective artistic research bringing together artists based in Belgium, Holland and the DRC. She revisits the story of a decorative panel painted by Mwenze Kibwanga for the show Changwe Yetu, presented in Lubumbashi in 1956, and questions the legacy of the painters of the Hangar preserved at the Park Hotel. Tomorrow, at the Park Hotel, find this exceptional presentation, accompanied by a musical performance by Sando Marteau, In the footsteps of Mufwankolo, for an evening combining memory, art and contemporary vibration. 📅 Wednesday, November 19, 2025 — 5:30 pm 📍 Park Hotel, Lubumbashi #Tracer #ArtInLubumbashi #PichaArtCenter #MwenzeKibwanga #ChangweYetu #PeintresDuHangar #CongoArt #Heritage #LubumbashiCulture #ArtResearch

Finally 🥳🎉 after a long renovation process, the first space of the extension of our building is ready!!! @enoughroomforspace Empty and full: the new archive of ICC/ Institute of Colonial Culture. A first event took place yesterday in the framework of Enact festival @luca.schoolofarts initiated by Wendy Morris @nothing_of_importanc_occurred Marjolijn Dijkman hosted a LUNÄ talk 'Turbid Ecologies', on a full moon, together with Maarten Vanden Eynde. We explored how Enlightenment thought, the Industrial Revolution, and colonization have shaped and influenced water bodies, tracing their material and immaterial residues in sediment and flow. The discussion critically addressed current practices of water “management” and the paradigm shifts needed to restore both aquatic ecosystems and our relations with the more-than-human world. The free-flow conversation featured contributions from Merve Bedir @vervoz , Marjolijn Dijkman, Ifor Duncan @iforduncan , Shivant Jhagroe @shivantjhagroe , and Annelies Kuypers. It connected perspectives from architecture, art, anthropology, and political ecology, exploring how infrastructures, environments, and technologies shape collective belonging, memory, and justice. The contributors and audience were invited to rethink the relationships between materiality, power, and environmental transformation, ranging from silt and mud to algorithms and governance. Also featuring on some of the photographs 🎇 artworks by @pamelatulizo and @moussa.alioum 🙏

💚 🌱 SALOON #55 - May 2025 - Visit @enoughroomforspace (Drogenbos) with co-founder and artist @marjolijn_dijkman . We also met with @pamelatulizo , current resident at ERforS. Marjolijn Dijkman presented Enough Room for Space, an artist run organisation she co-founded with Maarten Vanden Eynde in 2005, and how it relates to her individual practice. Enough Room for Space is in a moment of transition and renovation of the recently acquired neighboring building. It will re-open next year with a dedicated space for ICC, an archive on Belgian colonial history, two guests ateliers and a new project space. Pamela Tulizo is currently in residence at Enough Room for Space for three months with her partner Martin Lukongo @martin_lukongo_ml . She presented her research into the resistance and strength of African women. Her current project Mababu draws on the long history of African kingdoms, the transatlantic slave trade, slavery, and colonization before reconnecting with the present. Pourquoi les femmes d'Afrique sont fortes? is not a theoretical question but an investigation across time and contexts that seeks to drive societal change. This commitment is part of Pamela Tulizo's practice: in addition to her artistic work, she is a journalist and runs a women's center in Goma: the Tulizo Elle Space. #saloonbrussels #marjolijndijkman #pamelatulizo #enoughroomforspace #drogenbos Reposted from @saloonbrussels

New article featuring @enoughroomforspace #ontradeoff on #prospecting, #speculation, and the extractive view in contemporary art and visual culture in the journal Environmental Humanities published by @dukeuniversitypress Big thanks to the artists discussed in the article— @edithmorales_art @georges_senga and @femherregraven —for their time and willingness to be interviewed, insightful comments, and permission to use images of their work. It's been a long path to publication with this one, but seeing it finally appear in a journal that’s done more than any other to carve out a unique interdisciplinary space to think through environmental art and humanities feels worth the wait. All the issues are fully open access too, so feel free to send a link to all your chums: /10.1215/22011919-11327276 ...or from personal website link in bio. Image: Timothy O’Sullivan, Karnak, Montezuma Range, Nevada, 1867. In Clarence King, Systematic Geology: Geological Exploration of the Fortieth Parallel, vol. 2, Descriptive Geology (Washington, DC, 1877), plate 23, p. 763. Reposted from @theoreevesevison

Rest in Power Lionel Manga (1955 - 2024) “Si nous voulons que le monde soit différent, il faut que notre langue pour le dire soit différente.” Lionel Manga quoted in Le Monde Afrique, 4/12/2022 As an artist collective, we are mourning the loss of a beautiful kindred soul from Cameroon, who died prematurely earlier this week. We remember Lionel passionately sharing his evocative views, which were both poetic and critical. We love to picture him in one of his favorite places, in Doual’Art’s garden by “the old mango tree that stands there covered with moss and epiphytes (...), a microclimate that affords a serenity in which conversations blossom between laughter and exclamation.” (Lionel quoted in “Post-Script”, ECHOES, DiArtgonale, 2013) Our first encounter took place in 2009 in Enough Room for Space’s Rotterdam studio, followed by many meetings and exchanges in Europe and Cameroon. In 2013, we published the exchange ‘Post Script’ between Lionel Manga and Belgian artist Vincent Meessen in the journal DiArtgonale ECHOES, and Annette Schemmel quoted him abundantly in the case study “Visual Arts in Cameroon: A Genealogy of Non-formal Training 1974-2014”, Langaa, Bamenda 2016. Lionel was a true spokesman for several generations of artists in Cameroon and beyond. We will miss his contagiously open and free spirit, extraordinary talent for words, and provocative decolonial thinking. - Marjolijn Dijkman and Annette Schemmel (initiators of “Present Perfect”, 2007-2017, Enough Room for Space)

Coming up: 7th of February at CIVA in Brussels: COUNTERING EXTRACTIVISM: ON LITHIUM. Marina Otero Verzier, Sammy Baloji, On-Trade-Off. Starting at 19:00h. The evening will be dedicated to what has been described as “green colonialism,” the development of renewable energy futures that often involves the dispossession of communities and the degradation of ecosystems. The event will focus on the consequences of the extraction of lithium, a scarce resource that plays a key role in the so-called green transition necessary for a more sustainable world. Since 2005, Sammy Baloji has been exploring the memory and history of the Democratic Republic of Congo. His work is an ongoing research on the cultural, architectural and industrial heritage of the Katanga region, as well as a questioning of the impact of Belgian colonization and extractivism. The artistic research group On-Trade-Off (whose members include, among others, Alexis Destoop, Marjolijn Dijkman, and Femke Herregraven) takes the recent appetite for lithium as a point of departure to investigate a broad range of questions surrounding raw materials for technological industries, financial speculation, and the history of electricity. In her exhibition Compulsive Desires: On Lithium Extraction and Rebellious Mountains (Galeria Municipal do Porto, 2023), architect and curator Marina Otero Verzier addresses the entanglement between extractivism and exhaustion, productivity and burnout, taking as her starting point the lithium extraction plans in northern Portugal and the struggles sustained by local communities for their lives and rights. The evening will be followed by a conversation, moderated by Nikolaus Hirsch and Silvia Franceschini, and Electrify Everything, a performance by Pom Bouvier-b and Marjolijn Dijkman (with a text by Jean Katambayi Mukendi). #Civa #on-trade-off #ontradeoff Image: 'Charging Tesla Crash, a Speculation', Jean Katambayi, Daddy Tshikaya, Sammy Baloji, Marjolijn Dijkman, Lubumbashi Biënnale, DRC (2019) photo: Uriel Orlow

Welcome @pamelatulizo to a month long residency at ICC / Institute of Colonial Culture, supported by @goetheinstitut_belgien @goetheinstitut We hope you find 'la fil rouge' in your research! Stay tuned for more updates about Pamela's residency.

⚡From 25 June - 12 July members of the On-Trade-Off collective are in residence in Barcelona as part of the Pre-biennale phase of Manifesta 15 Barcelona to co-develop the conceptual framework for the biennale, opening next year September 2024. ✨

Sacrificial Energy: Rose-Anne- Gush on «Charging Myths» at Framer Framed, 24 February–4 June 2023 I traveled to Amsterdam with a group of students from IZK - Institute for Contemporary Art at Graz University of Technology, my colleague Philipp Sattler and friend, curator, Andrea Popelka, to view the exhibition Charging Myths by the artist collective On-Trade-Off and other configurations of artists and scholars critically investigating the energy transition. In our case, this research relates to an exploratory tunnel, dug 1.6km into the Koralm mountain range in the Austrian Alps, where lithium spodumene was found. European Lithium, a company headquartered in Australia, plans to make this mine (among others in the region) operational by early 2025, extracting the spodumene to send it for processing in Saudi Arabia. This review essay addresses the exhibition Charging Myths and its narrative of lithium extraction in relation to the global energy transition, its histories, social and material relations, and its aesthetic and political potential.   [link in bio] Installation photo from the exhibition Charging Myths (2023) at Framer Framed, Amsterdam. © Maarten Nauw / Framer Framed. Guest edited by Anastasia Kubrak @coubraque @roseannegush @lucieemiliekolb @framerframed Reposted from @brand_new_life_magazine