Galerie Wonnerth Dejaco

Belinda Kazeem-Kaminski at Wonnerth Dejaco, Vienna “Ire T’ónlọ Lọ́wọ́ / Blessings, ongoing” October 31, 2024 – January 8, 2025 Photos: © Flavio Palasciano, images courtesy of the artists and Wonnerth Dejaco, Vienna @wonnerthdejaco @bel.kamkaze #wonnerthdejaco #belindakazeemkamiński

Alífábẹ́ẹ̀tì ní àgọ́ ara mi (In my Body an Alphabet), 2023 C-print on aluminium Dibond, framed 103 × 69 cm Ed. 3 + 2 AP From the exhibition Ire T’ónlo Lówó / Blessings, ongoing, Belinda Kazeem-Kamiński 30 October 2024 — 19 December 2024 Photos: @flavio_pesto @bel.kamkaze #belindakazeemkamiński

Raven Chacon, Belinda Kazeem-Kamiński, Oscar Tuazon Opening 14 November 2024 Galerie Eva Presenhuber ZURICH Join us at @galerieevapresenhuber at Maag Areal for the vernissage of a new group show of three large-scale installation works by acclaimed contemporary artists, Raven Chacon (@ravenchcn ), Belinda Kazeem-Kaminski (@bel.kamkaze ) and Oscar Tuazon (@_oscarwater_ ). Belinda Kazeem-Kamiński (b. 1980, Vienna, AT) presents the expansive 3-screen video and sound installation ‚Respire (Liverpool)‘ (2023) and ‚Keep On Keepin‘ On (for Nile)‘ (2023). Here, breathing is embraced as a rhythmic, repetitive insistence on survival in a world where Black people’s ability to breathe freely remains precarious. Further, she presents the green neon light ‚A Breathing‘ (2024), which serves as a signal and a reminder of the centrality of breath in African and African Diaspora liberation struggles. Images: 1. Belinda Kazeem-Kamiński ‘Respire’ and ‘Openings’. Liverpool Biennial 2023 at FACT Liverpool Courtesy of Liverpool Biennial Photo: Mark McNulty 2. Belinda Kazeem-Kamiński ‘Respire (Liverpool)‘ at phileas, Vienna Immersive video installation Photo: @kunstdokumentationcom 3. ‘A Breathing‘ 2024 Neon lights 50 x 221 cm Photo: @kunstdokumentationcom #belindakazeemkamiński @bel.kamkaze

Belinda Kazeem-Kamiński Irè, T’ónlọ Lọ́wọ́ (Blessings, ongoing) 31 October 2024 — 19 December 2024 Photos: @flavio_pesto @bel.kamkaze #belindakazeemkamiński #wonnerthdejaco #blessings #lagos

This week the gallery will only be open on Saturday, 9 November 2024. Thank you for your understanding. Image: Belinda Kazeem-Kamiński Ìyá, Bàbá àti Èmi (Mother, Father, and Me), 2024 C-print on aluminium Dibon 104.7 × 193.2 cm 3 + 2 AP From the exhibition Ire T’ónlo Lówó / Blessings, ongoing Belinda Kazeem-Kaminski 31 October 2024—19 December 2024

Opening tonight! First solo show of Belinda Kazeem-Kamiński. Irè, T’ónlọ Lọ́wọ́ / Blessings, ongoing Belinda Kazeem-Kamiński 31 October — 19 December 2024 Text in plain English: Belinda Kazeem-Kamiński is an artist born in Austria. In 2023, she traveled to Lagos, Nigeria, to learn about Yoruba culture and language. Yoruba is a culture in West Africa, with special beliefs, stories, and symbols. During her stay, Belinda worked with Professor Jelili Atiku, who taught her about Ifá divination. The Ifá is a Yoruba system to understand life and make decisions. With his guidance, she created new self-portraits about calmness and balance. She also worked with Amaize, the son of famous photographer J.D. Ojeikere. She made works that are inspired by studio photography from West Africa. Her works were shown in Lagos at an art fair. Her exhibition “Irè T’ónlọ Lọ́wọ́ / Blessings ongoing” happens one year after her stay in Lagos. All the photographs are inspired by her experience in Lagos and West African studio photography. #belindakazeemkaminski @bel.kamkaze #wonnerthdejaco

We are excited to announce the first solo show by Belinda Kazeem-Kamiński. Belinda Kazeem-Kamiński is a Vienna based writer, artist, and researcher whose works manifest themselves through a variety of media. Rooted in Black feminist theory, she has developed a research-based and process-oriented investigative practice that deals with the condition of Black life in the African diaspora. Doing so, she interlaces varying spaces and temporalities, thereby resisting a clean-cut separation between documentary and speculation. Solo and group shows include: IMMA Dublin, IR, mumok, Vienna, AT, f/stop Festival for photography Leipzig, DE, Biennale de l'image impossible, Liege, BE (2024), Liverpool Biennial, GB, Foto Rio, Rio de Janeiro, BR (2023), Camera Austria Graz, AT (2022), Les Recontres d'Arles, FR (2022), Museum Ludwig Budapest, HU (2022), Centrale Fies, Drò, IT (2022), Kunsthalle Wien, Vienna, AT (2021), Museum der Moderne Salzburg, AT (2021). Screenings: International Film Festival Rotterdam (NL), Diagonale (AT), Vancouver International Film Festival (CA) e.g. Her awards and prizes include: Otto Mauer Preis (2023), Africa/Diaspora Access ART X Prize (2022/23), Camera Austria Award (2021), Doc-Stipendium Austrian Academy of Science (2018-2020), Cathrin Pichler Prize (2018), Theodor Körner Prize for Art (2016). Joint opening with @galeriethoman

Rebecca Jagoe, with your teeth, performance, 14 September 2024 „with your teeth“ by Rebecca Jagoe is a visceral exploration of romantic obsession and the haunting spectre of loss. The performance delves into our deep-seated fear of change and desire for unending stability, inspired by a Connecticut slipware plate attributed to John Betts Gregory (1782-1842), inscribed with the poignant question, “Why / Will You / Die.” Through evocative metaphors of cannibalism and the mating rituals of deep sea anglerfish, the performance examines the moment when the yearning for permanence becomes a compulsion to merge. „A Tragical Romance“ curated by Mariana Lemos with Leah Clements, Rebecca Jagoe, Korallia Stergides and Marianne Vlaschits @r_jagoe_ @marianaamlemos photo: @j4lil11

Korallia Stergides, Low Roaming Cloud, performance, 14 September 2024 „Low Roaming Cloud“ by Korallia Stergides is a profound exploration of embodiment and mourning, presented through poetry, performance, and song. The work delves into the artist’s grief for her late family dog, interweaving evocative imagery of a lamb’s ear, marble, a rabbit, and a fawn. In the first person, Stergides draws us into a reflective space where childhood memories, sickness, and care are examined with tenderness. The piece evokes moments of vulnerability and healing, reflecting on intimate connections with non-human entities formed during times of illness and recovery. Blending abstract and tangible elements, Stergides weaves a dialogue between sensory memories and emotional depth. The narrative blurs the lines between physical presence and abstract thought, exploring how experiences and emotions intertwine with materiality. „A Tragical Romance“ curated by Mariana Lemos with Leah Clements, Rebecca Jagoe, Korallia Stergides and Marianne Vlaschits photo: @j4lil11 @aillarok @marianaamlemos

Rebecca Jagoe, Scrofula II, 2019 Marbled latex, silk chiffon, silk satin, red cotton thread, 180 × 150 x 95 cm „In Rebecca Jagoe’s work, the body becomes a leaky vessel—soft, wet, grotesque, consumed by desire. Scrofula I and Scrofula II speak of illness, of the strange and unsettling ways we romanticise frailty, and fetishize sickness. The consumptive body of the Victorians once eroticized in its fragility, now returns as something both mourned and celebrated. In Jagoe’s work, piss, blood, tears, and sweat are not markers of weakness but of transcendence, a surrender to the body’s inevitable meltdown. Garments hang ghost-like, emptied of their wearers or opened up wide, as though transformed into the stratosphere by deep time.“ Mariana Lemos From the exhibition „A Tragical Romance“ curated by Mariana Lemos with Leah Clements, Rebecca Jagoe, Korallia Stergides and Marianne Vlaschits. You can find all access documents related to the works in the exhibition on our website wonnerthdejaco.com/a-tragical-romance/ #wonnerthdejaco #rebeccajagoe @r_jagoe_ @marianaamlemos

1-3 Korallia Stergides, Yellow Liquid (Stain), 2020, etching on Calacatta marble, press blanket 11 × 36 × 57 cm 4 Installation view, A Tragical Romance
with Leah Clements, Rebecca Jagoe, 
Korallia Stergides and Marianne Vlaschits
curated by Mariana Lemos „Korallia Stergides’ bright yellow medicine stains everything it touches with the mark of grief, moving between bodies and artworks. In Low Roaming Cloud, this liquid—shared between herself and her dog as a child—leaks into the text and drawings of Jagoe’s Of Thyrst, where they share a language that itself becomes fluid. Jagoes often uses a fervid blend of Middle English and neologisms to unload complex emotions layered with history and fact. For Stergides, memory and metaphor melt together: clouds, dogs, marble floors, all blurring into one another, time slipping through them like water through fingers until they disappear. The body, here, dissolves into a soft and sensorial world where distinctions between human and non-human are no longer fixed.“ Mariana Lemos You can find all access documents related to the works in the exhibition on our website wonnerthdejaco.com/a-tragical-romance/ #wonnerthdejaco #koralliastergides @aillarok @marianaamlemos

TOMORROW: Between Flesh and Fantasy: A Conversation on Bodies and Archives Talk with Mariana Lemos, Marianne Vlaschits and Lisa Moravec Thursday, 16 October 2024 6:00 pm WONNERTH DEJACO Ballgasse 6 1010 Vienna As part of the group exhibition A Tragical Romance for curated_by, this conversation brings together artist Marianne Vlaschits, curator Mariana Lemos, and historian-theorist Lisa Moravec to explore the intersections of the body, the archive as concept, and the cosmos. Focusing on Vlaschits’ paintings Celestial Mechanics and Glitch Music 2.0, we will discuss how these works frame the body as an archive and the archive as a living body. Celestial Mechanics draws inspiration from 16th-century scientific illustrations in the archives of the Institute for Astrophysics at the University of Vienna, transforming these historical images to blur the lines between the celestial and the human. Glitch Music 2.0 connects the stuttering rhythms of neutron stars with the elemental composition of our bodies, reflecting Vlaschits‘ own experience of stuttering as an embodied archive, intertwining personal and cosmic narratives. The discussion will also delve into how Vlaschits‘ work resonates with the exhibition’s themes, particularly in exploring new perspectives on embodiment and the limits of human identity. We will consider how her art redefines the boundaries between the human and non-human, and examine how artistic practice itself can serve as a living archive of both personal and universal histories. Image: Marianne Vlaschits, Celestial Mechanics, 2022, Oil on canvas, 43 x 38.5 @l_i._m_o @marianaamlemos @marianne_vlaschits