Curated through Stéphane Kabila, “Moving the Gaze” is a important exploration of notions in terms of id, belonging, and sociopolitical historical past as they seem in contemporary works through Marita Banda, Bwanga “Benny Blow” Kapumpa, and Andy Storchenegger. Within the three-channel video set up No one is K, 2021–22, Banda and Storchenegger spotlight the complicated and from time to time uncomfortable emotions that encompass concepts of belonging. The video departs from excerpts of Banda’s poems ahead of shifting directly to pictures of figures in stretchy monochrome costumes as they navigate the rocky landscapes round Livingstone.
In his multimedia installations, Kapumpa questions the dichotomous dating between Christian and Indigenous understandings of spirituality and therapeutic. He emphasizes the harmonies and tensions between those two approaches through hanging into proximity symbols, sounds, and items utilized in each trust programs. For example, the morning hen name in A Acquainted Poem, 2022, would possibly constitute a foul omen to Indigenous spiritualists, whilst within the context of Christianity, the place the dove is related to the tip of the flood, its name would possibly sign aid from an ordeal or impediment. Different sculptural and sound installations chase away on the concept of herbal medication as “witchcraft,” combining reed mats, people tune, and paper ads for services and products equipped through ngangas (conventional healers) gathered off public partitions in Livingstone.
As a complete, the exhibition foregrounds the significance of inventive analysis whilst providing an area for one to think about what it approach to belong, to face out, or to assimilate inside other communities and locales.