There’s
heaps of humor, irony and deadpan indulgence in the unprecedented exhibition of
the same name, ‘Indulgence’ that its curator Nyambura Waruinge says took her more
than a year and a half to construct and which opened April 5th at
Goethe Institute.
“I’d
actually been thinking for some time about putting together a show that focused
on the body,” says Nyambura who graciously credits the Ugandan curator Violet
Nantomen for giving her the inspiration to take up the tabooed topic and running
with it.
Violet curated
‘Eroticism & Intimacy: Faces, Places and Paths’, an exhibition which
featured the works of 28 artists from five Great Lakes Regional states.
Nyambura’s is more subtly named and only has the art of five creatives in it. But
each one explores and experiments with comparable and equally evocative themes
related to gender, sexuality, desire, erotic pleasure and a range of related
issues, each in their own inimitable way.
If one is
easily shocked with the public display or discussion of sex, then ‘Indulgence’
isn’t for you. But if one’s prepared to keep an open mind and an unflinching
gaze, then you’ll be in for a fascinating ride into an unexplored terrain that
will bring either delight or distress to one’s heart and mind.
For there’s
little doubt you won’t have ever seen ‘the Big Five’ referred to not as Kenya’s
renowned wildlife but as five life-sized phallus’. Each one stands erect inside
a polished wooded box that is lit by blinking battery-charged mini-bulbs. The
phallus’ were carefully carved out of assorted Kenyan woods by James Muriuki
who also tells BD that he’s not ‘gender biases’.
In fact, he
recently sculpted a vagina out of soil and sand. But he felt the phallus’ were
more appropriate for this show since their display would definitely be seen as
a taboo and possibly even an insult to man’s virility since the five seem to be
mocking what most men see as their ‘manhood’.
At the opening
of Indulgence, James spoke freely about his phallus’ and clearly took pleasure
in the public’s curiosity. Women especially interrogate him that night as they
were clearly intrigued by a man who didn’t seem to mind making fun of
traditional masculinity.
Meanwhile, Yaye
Yassamali also enjoyed explaining her contribution to the show: three shapely
steel wired multicolored configurations, two of which hang like fragile mobiles
from Goethe’s ceiling.
Yaye said
she’s been working in two dimensions for some time and was keen to experiment
with 3D sculpture. The three wire works represent three stages of orgasm, she
says: first, the foreplay, then the ecstatic pleasure and finally, the repose.
Like James,
Yaye is shameless in her explanation of a subject which is definitely tabooed
talk among most Kenyans. Indeed, the mere mention of sex is rarely touched on,
leave alone issues of pleasure and desire. But Yaye seems to have found her
calling since she’s been painting various aspects of women’s sexuality on
canvas, paper and even t-shirts for some time..
Then one
comes to the two Ugandans in the show, neither of whom was present at the
opening. But both Stacey Gillian Abe and Henry ‘Mzili’ Mujunga make powerful
statements about what Nyambura calls ‘gender bending’. So does the fifth
contributor to ‘Indulgence’, Neo Musangi, especially when in her video, she has
the faceless protagonist dressed in a priestly gown injecting him- or herself
with hormones meant to transition that person from one gender to the next.
Neo is
apparently the one who inspired the exhibition’s title since Nyambura explained
that the Catholic Church associates sex with sin and sin is an indulgence,
something for which someone is meant to repent.
To confirm
that she’s alluding to the church and its being one of the loudest taboo-talker
about sex and sin, Neo also includes an actual priestly robe plus several
rosaries in her installation.
Mzili might
also offend audiences with his three glorious paintings, all of which present
human beings who primarily combine the bodily features of both women and men.
They might have male genitalia but female breasts or vice versa. And if the
paintings present confusing pictures of human beings, the artist nonetheless
uses a lovely array of bright dazzling colors to captivate one’s eyes before
they can avert their gaze, if they were inclined to feel shame, embarrassment or
incredulity at what Mzili has done to the human body.
Stacey has
similarly challenged traditional views of her gender, only while Mzili works in
oils and acrylics, she uses photography and collage to create works of art that
arrest the eyes in ways similar to what Mzili does.
Both of her
works present a woman apparently in the act of preparing food although shes
stirring up her stew in a toilet bowl not a kitchen pot. What’s more she’s
scattered replicated images of women’s vaginas all over the floor beneath the
bowl. It’s bizarre but no less so than believing women are destined to remain
confined and denied their right to fulfill their potential, including their
passion and pleasure, whatever that pleasure may be.
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