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SONIC LIFE/SOCIAL THEFT
curated by BHMF
February 11-April 30
MaNoBA exists as a virtual space that can be manifested (or materialized) in many forms and formations, it is an interdisciplinary assemble experimenting with forms of action according to its urges.
MaNoBA proposes a multi-sensorial anthology in search of contemporary art practices which emerge from a sense of resistance, as seen throughout oral history of marginalized narratives and ways of doing.
Afro spiritual practices -The most ancestral and interdisciplinary forms of art.
MaNoBA has emerged to propose strategies of decolonising our imagination by reclaiming ownership of peripheric, black and brown cultural production.
This iteration reframes the original performance to fit into a different space and time, where the elements of the live performance are abstracted and its traces exposed symbolically. It is an internalization of what it was. An open platform which could exist in an inconsistent form and be summoned when needs be. The organization of the chapters in the space does not follow the original order of the performance, instead it has become a site-specific piece and has been adjusted to this space.
The Exhibition MaNoBa was accompanied by the installation SONIC LIFE/ SOCIAL THEFT, an experiment in archiving electronic genres such as jungle, trap and contemporary keyboard pagode from Bahia(BR) as historical and cultural canons where technology is used by blackness in its’ reconstructive flight from imposition’(Moten, 2003). The research based exhibition MaNoBa traverses multiple chapters transforming the gallery of The Recovery Plan into a platform for experimentation with interdisciplinary forms of action and catalysts conspiring with sound archival material, spoken word & Bahia black vernacular. Bartira’s employment of various mediums, from ethereal traces of the past to diy performances, position sound as an intangible curator of Black transnational memory and futurity, but also a technical agent for a reconfigured testimony.