Another Cosmic Interluded Orbit

2016
Kemang Wa Lehulere, Another Cosmic Interluded Orbit, 2016. chalk on black board. 590 × 1070 cm. Commissioned by SeMA Biennale Mediacity Seoul 2016. Courtesy of the artist and Stevenson Gallery. SeMA Biennale Mediacity 2016 NERIRI KIRURU HARARA. Seoul Museum of Art and Lobby. 2016. Photo: Gim Ik Hyun, Hong Cheolki
Kemang Wa Lehulere, Another Cosmic Interluded Orbit, 2016. chalk on black board. 590 × 1070 cm. Commissioned by SeMA Biennale Mediacity Seoul 2016. Courtesy of the artist and Stevenson Gallery. SeMA Biennale Mediacity 2016 NERIRI KIRURU HARARA. Seoul Museum of Art and Lobby. 2016. Photo: Gim Ik Hyun, Hong Cheolki
Kemang Wa Lehulere, Another Cosmic Interluded Orbit, 2016. chalk on black board. 590 × 1070 cm. Commissioned by SeMA Biennale Mediacity Seoul 2016. Courtesy of the artist and Stevenson Gallery. SeMA Biennale Mediacity 2016 NERIRI KIRURU HARARA. Seoul Museum of Art and Lobby. 2016. Photo: Gim Ik Hyun, Hong Cheolki
Kemang Wa Lehulere, Another Cosmic Interluded Orbit, 2016. chalk on black board. 590 × 1070 cm. Commissioned by SeMA Biennale Mediacity Seoul 2016. Courtesy of the artist and Stevenson Gallery. SeMA Biennale Mediacity 2016 NERIRI KIRURU HARARA. Seoul Museum of Art and Lobby. 2016. Photo: Gim Ik Hyun, Hong Cheolki

Another Cosmic Interluded Orbit is a chalk drawing on a blackboard completed over 8 days by Kemang Wa Lehulere. The artist has mainly created works that look back on South African history from a post-apartheid context. His works are positioned between personal narratives and collective history, and between the processes of amnesia and archiving. The use of chalk, which can be easily used to draw and erase, and to redraw countless times over, signifies history, which is written, corrected, and endlessly revised. He states that the future exists within the past and the present and the inverse is also true.

“With my work it wasn’t overtly political but I was engaging with the struggle of trying to deal with the historical in that socio- political context and how does one navigate it. And for me the choice of chalk is an impermanent material because it’s about time and transition as well … things are always changing and moving and our perspective of the past is always shifting depending on where we are, how much we’ve moved or how much we haven’t moved at all.” (Kemang Wa Lehulere)

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