MAHRET IFEOMA KUPKA

I will be teaching as a guest professor this winter semester at the Staedelschule art school in Frankfurt. In the seminar, we will focus on Appropriation Art, a practice that raises fundamental questions about originality, authorship and the connection between art and culture through the deliberate appropriation and reinterpretation of existing works. It originated in the 1960s and 1970s, when artists such as Andy Warhol, Sherrie Levine and Richard Prince questioned the boundaries between copy and original and challenged conventional notions of art. We will read and discuss texts to explore the historical development of Appropriation Art, from its early manifestations in Pop Art and Conceptual Art to its use as a critical tool to address social and cultural issues. One focus will be on the question of the legitimacy of appropriation: What ethical and legal implications are associated with the appropriation of other people’s works? What are the limits of appropriation art as a means of cultural criticism and reflection? We will examine how appropriation is evaluated today and what role it plays in current discourses on cultural appropriation, power relations, identity politics and cultural sovereignty. Through theoretical analyses and critical discussions, we will create a space in which both historical knowledge can be deepened and one’s own artistic practices can be refined. Thanks to @isabelle_graw for the opportunity and to @marina_ackar for the nice photo.

„Eclectic Affinities. Hamid Zénati und die Sammlung des Museum Angewandte Kunst” wurde gestern eröffnet! Vielen Dank an alle Beteiligten. / “Eclectic Affinities. Hamid Zénati and the Collection of the Museum Angewandte Kunst” opened yesterday! Thank you to everyone who joined us. ©️ Museum Angewandte Kunst #MuseumAngewandteKunst #frankfurt #HamidZenati @emmametzler_restaurant

Please mark your calendars. I am very happy to announce my upcoming exhibition at @museumangewandtekunst in collaboration with @annafeniaschneider and the @hamid_zenati_estate . On September 27th we will be opening Eclectic Affinities, an extensive dialogue between Hamid Zénatis textile works and objects from the museum’s collection. With his all-over stencil technique, Algerian born Zénati developed a distinct formal language and created compositions that were both playful and powerful. His paintings on textiles, ceramics, and furniture, as well as his approach to photography, challenge established boundaries and genres by moving between the realms of design, art, and interior design. Zénati’s work resonates with the museum’s central questions: What is applied art today? Where is the boundary with the visual arts? Do our learned hierarchies, categories of knowledge, and viewing habits do justice to a diverse world? In nine chapters the exhibition focuses on different aspects, enabling a new perspective on the practice of an individualist and autodidact whose observations of social, cultural, and artistic movements organically flowed into his work. It also elicits unconventional approaches to the collection objects selected by the curators in relation to Zénati’s work. Loans from the Frankfurt Museum of Modern Art and the Walther Collection (Neu-Ulm/New York) create further points of reference.

Im Wintersemester 2023/24 und im Sommersemester 2024 unterrichtete ich an der Berliner Universität der Künste das Fach Designtheorie als Vertretung der emeritierten Designtheorie Professur. In zwei Seminaren zum Thema ANEIGNUNGEN befassten sich die Studierenden der höheren Semester umfassend in Theorie und Praxis mit diesem umfangreichen Themenkomplex. Es ging darum, den Begriff der Aneignung in der Breite zu verstehen. Wer eignet an und kann aneignen, wer wurde und wird angeeignet? Wie stehen Aneignungsprozesse in Beziehung zu herrschenden Vorstellungen von Kultur und Gesellschaft? Wann wird die Aneignung zur Überlebensstrategie, für wen? Wir lasen gemeinsam, schauten, hörten und diskutierten mit Gästen, die sich in ihrer Arbeitspraxis auf je unterschiedliche Weise mit Aneignungen befassen und/oder individuelle Lösungen im Umgang mit Machtungleichverhältnissen gefunden haben. Wie können Aneignungen mit Sensibilität, Respekt und ethischer Verantwortung gelingen? Welche Aushandlungsräume braucht es, um Ausbeutung, Missverständnisse, Konflikte und die Verletzung von Rechten zu vermeiden? Welche Voraussetzungen sind nötig, um Aneignungen in Kollaborationen zu transformieren? Im Oktober 2024 wird eine Publikation erscheinen, die Ergebnisse des Kurses zusammenfasst. Grafische Gestaltung von @rabyflorence

Some views of the @talking_objects_lab exhibition Ré-imaginer le passé at KINDL — Centre for Contemporary Art, Berlin @kindlberlin 24.3.24 – 28.7.24 Artists: Elsa M’Bala, Fatou Kandé Senghor, Caroline Gueye, Nathalie Anguezomo Mba Bikoro, Ibrahima Thiam, Viyé Diba, Mansour Ciss Kanakassy, Uriel Orlow, baobab création, C& Center of Unfinished Business Curatorial Team: Mahret Ifeoma Kupka, Isabel Raabe, Ibou C. Diop, Malick Ndiaye Ré-imaginer le passé is more than just an exhibition — it is an ambitious research journey spanning several months, a collaboration between curators, thinkers and artists from the African continent, the diaspora, Germany and India. The aim of this participatory project, which was developed in Dakar, is to reinterpret our past and develop alternative narratives for the future. The central question: Can a different understanding of our stories lead to a new ethics of relationship between the global South and the global North? Funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation), the Beauftragte der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media), ifa – Institut für Auslandsbeziehungen, and Pro Helvetia Images: Jens Ziehe. @isabelraabe_01 @ibou_c_diop @anabambalaelsatatiana @fatou.k.senghor @studiocarolinegueye @nbikoro @ibrahima.thiam.studio @mansour.ciss @urielorlow @contemporaryand @akoma_camara @nunudesignbydk @kindlberlin #kindlberlin #talkingobjectslab #kulturstiftungdesbundes #prohelvetia @ifa.de #dakar #berlin

I am happy to announce our upcoming @talking_objects_lab exhibition Ré-imaginer le passé at KINDL — Centre for Contemporary Art, Berlin 24.3.24 – 28.7.24 Opening: 23.3.24, 18:00 – 21:00 Artists: Elsa M’Bala, Fatou Kandé Senghor, Caroline Gueye, Nathalie Anguezomo Mba Bikoro, Ibrahima Thiam, Viyé Diba, Mansour Ciss Kanakassy, Uriel Orlow, baobab création, C& Center of Unfinished Business Curatorial Team: Mahret Ifeoma Kupka, Isabel Raabe, Ibou C. Diop, Malick Ndiaye Ré-imaginer le passé is more than just an exhibition — it is an ambitious research journey spanning several months, a collaboration between curators, thinkers and artists from the African continent, the diaspora, Germany and India. The aim of this participatory project, which was developed in Dakar, is to reinterpret our past and develop alternative narratives for the future. The central question: Can a different understanding of our stories lead to a new ethics of relationship between the global South and the global North? Funded by the Kulturstiftung des Bundes (German Federal Cultural Foundation), the Beauftragte der Bundesregierung für Kultur und Medien (Federal Government Commissioner for Culture and the Media), ifa – Institut für Auslandsbeziehungen, and Pro Helvetia @isabelraabe_01 @ibou_c_diop @anabambalaelsatatiana @fatou.k.senghor @studiocarolinegueye @nbikoro @ibrahima.thiam.studio @mansour.ciss @urielorlow @contemporaryand @akoma_camara @nunudesignbydk @kindlberlin #kindlberlin #talkingobjectslab #kulturstiftungdesbundes #prohelvetia @ifa.de #dakar #berlin

@talking_objects_lab RÉ-IMAGINER LE PASSÉ LABoratoires et expositions 25/11/2023 – 08/01/2024 Musée Theodore Monod d’art africain IFAN, Dakar 24/03/2024 – 28/07/2024 KINDL – Centre for Contemporary Art, Berlin Ré-imaginer le passé is more than just the two exhibitions in Dakar and Berlin—it is a long-term research journey, spanning several months. Guided by a participatory approach, a team of German and Senegalese curators brings together curious minds and visionary artists to explore our past and future. The project addresses the question of whether a reinterpretation of the past can produce other narratives for the future and thus a new ethic in the relations between the global South and the global North. We refer to the concept of the imaginary as a starting point for rethinking realities and thus contribute to their change. By focusing on the coloniality of our times, the project proposes to revisit the past and imagine a future from a decolonial perspective, to open up the possibility of new ways of thinking, of other knowledges and other narratives. These thoughts were the starting point for a workshop series—called LABoratoires and held in May 2023 in Dakar—in which the participating artists together with thinkers Nikita Dhawan and @mariadomarcastro shared their approaches and practices. In this dialogic process the artworks shown in the exhibition evolved and most of them have been commissioned specifically for this context. The artists revisit objects, rethink history, rediscover knowledge and bridge space and time. Ré-imaginer le passé is taking place in the frame of @partcours , and part of a series of events, artist residencies and exhibitions of the TALKING OBJECTS LAB – Decolonizing Knowledge, which has been evolving in Germany, Senegal and Kenya since 2020. Artists: @anabambalaelsatatiana @fatou.k.senghor @studiocarolinegueye @nbikoro @ibrahima.thiam.studio Viye Diba @kanakassy.ma4nsour.ciss @urielorlow and @baobab_creations Curatorial Team: @modekoerper @isabelraabe_01 @ibou_c_diop and Malick Ndiaye Photo: Série Maam Njaré, 2020, Ibrahima Thiam @ibrahima.thiam.studio

𝐄𝐢𝐧𝐞 𝐯𝐨𝐧 𝟗𝟎 𝐄𝐱𝐩𝐞𝐫𝐭*𝐢𝐧𝐧𝐞𝐧 Distinktion und Knowhow. Mode ist eine Identitäts-, aber auch eine Geldperformance. Die einen kaufen sich einfach das Teuerste, andere picken mit großer Expertise die richtigen Stücke aus dem Wühltisch, und die meisten liegen mit ihren Klamotten eh immer daneben. 𝐌𝐚𝐡𝐫𝐞𝐭 𝐈𝐟𝐞𝐨𝐦𝐚 𝐊𝐮𝐩𝐤𝐚 (@modekoerper ), Kuratorin am @museumangewandtekunst , spricht über sapeurs, die im Kongo auf ihre je eigene Weise westlichen Luxus zelebrieren, über den Unterschied zwischen altem und neuem Geld, über die Serie Succession, Zadie Smiths Swingtime, Christian Krachts Barbour-Jacke und die Luxus-Alditüte von Lars Eidinger. Ihr wollt mehr erfahren? Bucht ein 1:1 Gespräch oder verfolgt die Gespräche im Markt-Radio! 🟡 Markt für nützliches Wissen und Nicht-Wissen (Mobile Akademie Berlin | Lizenz #12) 🕐 16.09., 19.00 Uhr 📍 @frankfurt.lab Alle Infos und Tickets unter dem Link in unserer Bio.

I had the honor to moderate the annual @design_akademie_saaleck walk+talk in Saaleck, Bad Kösen on September 2nd. Under the title "Monumental Affairs" and the creative direction of African-American architect @germane.barnes , the topic this time was the past and future of monuments and their significance for our societies. The Saaleck Workshops, on whose grounds the Saaleck Design Academy is constantly reinventing itself today, were founded in 1904 by Paul Schultze-Naumburg and, at the latest since Schultze-Naumburg joined the NSDAP in 1932, developed decidedly into a counter-design to the ideals of the Bauhaus and the Deutscher Werkbund. Through his membership in the NSDAP, his Reichstag mandate, parts of his literary work (Kampf um die Kunst) and by means of his contacts to National Socialist prominence, Schultze-Naumburg was an active pioneer of the Third Reich. Due to his activities in the "Block," his membership and his function as chairman in the Kampfbund für deutsche Kultur, he was one of the initiators and co-responsible for the closure of the Dessau Bauhaus (1932) and for the book burnings of 1933. With his book Kunst und Rasse (Art and Race), which served as a model for the 1937 "Degenerate Art" exhibition, and his conduct as director of the Weimar Art Academy, Schultze-Naumburg was a leading pioneer and contributor to National Socialist cultural ideology. dieDAS made a conscious decision not to museumize the site and, in changing artistic directors and international fellow programs, continues to question the site anew, thus keeping memory and developments for models of coexistence in motion. International personalities and art, design, architecture and culture were invited. I was able to establish many new contacts and am eagerly following the further developments of this important space.

Throwback to an unforgettable evening at G.A.S Lagos for Unexpected Lessons #04! ⁠ ⁠ Hosted by Dr. Mahret Ifeoma Kupka, this gathering took place on February 10th, 2023, with two incredible interdisciplinary panels of experts, artists, curators, and thinkers to delve into the crucial topic of decolonizing restitution. ⁠ ⁠ This event was supported by Heinrich-Böll-Stiftung in Nigeria.⁠ ⁠ To watch the videos, see the link in bio⁠ ⁠ __ _⁠ ⁠ Slide 1-3 A collaborative performance by Tolulope Ami-Williams @official.stunna_ ⁠ ⁠ Slide 4 Spoken word poetry performance by Ayomide Fasedu @bloodymidefash ⁠ ⁠ ⁠ Panel 1: Wale Ojo @republicjournal , Dr Oluwatoyin Sogbesan @oluwatoyinsho , Sarafadeen Bello @onthereviewtoday , Femi Johnson @femi.johnson_ ⁠ ⁠ Panel 2: Tracian Meikle @tracianmeikle , Olufisayo Bakare @fifibaxx , Brenda Fashugba @brenda , Matthew Blaise @matthew.blaise ⁠ ⁠ ⁠ Slide 7 Opening lecture by Dr Mahret Ifeoma Kupka @modekoerper ⁠ #GASFoundation #GuestArtistsSpace #HeinrichBöllStiftung #UnexpectedLessons #ThrowbackEvent #ArtandCulture #Restitution #DecolonizingRestitution #DecolonialThinking #MahretIfeomaKupka Special thanks @boellstiftung

Just like the previous episodes UNEXPECTED LESSONS #4 addressed the theme of decolonization. In the light of the most recent returns of Benin Bronzes from Germany to Nigeria they focussed on the topic of restitution. UNEXPECTED LESSONS #04 was be organized by Dr. Mahret Ifeoma Kupka during her residency at the @gasfoundation in Lagos Nigeria, as part of TURN 2 - Kulturstiftung des Bundes. UL #4 is supported by @boellabuja and @republicjournal @gasfoundation #gasfoundation #guestartistsspace @talking_objects_lab #unexpectedlessons @boellstiftung @museumangewandtekunst #turn2residencies #kulturstiftungdesbundes @kulturstiftungdesbundes @zku.berlin @trianglenetwork

On Friday we hosted Unexpected Lessons: Decolonizing Restitution at G.A.S. Lagos. The event marked the fourth in a series of conversations organised and curated by current G.A.S. resident Dr Mahret Ifeoma Kupka (@modekoerper ).⁠ ⁠ Dr Kupka is a researcher and senior curator at the Museum Angewandte Kunst in Frankfurt/Main, Germany and co-curator of the research project TALKING OBJECTS LAB (@talking_objects_lab ). Throughout her residency at G.A.S. Foundation, much of her research has focused on themes surrounding restitution and the repatriation of looted objects from Africa. Unexpected Lessons: Decolonizing Restitution was an opportunity to invite collaborative discourse around the topic by platforming diverse perspectives from within Nigeria. ⁠ ⁠ 🎥 Recordings from all panel discussions will be available online in the coming weeks. ⁠ ⁠ The event was made possible with generous support from the Heinrich Boell Foundation, Abuja (@boellstiftung @boellabuja ) and THE REPUBLIC (@republicjournal ). Mahret's residency is facilitated by the TURN2 Programme, an initiative, developed by the German Federal Cultural Fund to enable artistic co-creation between Germany and African countries.⁠ ⁠ #gasfoundation #guestartistsspace @talking_objects_lab #unexpectedlessons @boellabuja @boellstiftung @republicjournal @museumangewandtekunst #turn2residencies #kulturstiftungdesbundes @kulturstiftungdesbundes @zku.berlin @trianglenetwork