Oct 10, 2021
Keyezua (Angolan, b. 1986) - Fortia 07, 2017
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Keyezua (Angolan, b. 1986) - Fortia 07, 2017
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Keyezua, Sailing Back to Africa as a Dutch Woman, 2017
Keyezua in 'Refraction: New Photography of Africa and its Diaspora' at Steven Kasher Gallery
Angolan artist Keyezua’s ‘Fortia’ series (translated as ‘Strength’) features female figures in handmade masks and dramatic red gowns posing in an eroded landscape outside Luanda. Citing her father’s disability and early death, the artist aims to explore how her own identity developed as a young woman experiencing loss. (In ‘Refraction: New Photography of Africa and its Diaspora’ at Steven Kasher Gallery in Chelsea through June 2nd). Keyezua, Fortia (1), giclée print on Hanhemuhle paper, printed 2018, 35 ½ x 23 ¾ in, 2017.
Not long to go until the opening of Nataal: New African Photography III at Red Hook Labs (@redhooklabs). We put the #girlgaze in the spotlight with the work of six female artists including Mali's Fatoumata Diabaté (@fdiabate), South Africa's Alice Mann (@alicemannnn nn) and Angola's Keyezua (@keyezua). Opening reception: May 4, 6-10 pm at Red Hook Labs, Brooklyn RSVP: [email protected] Full info: link in bio #redhooklabs #labsgallery #youngartists #nataalmedia #newafricanphotography #alicemann #africanphotography #keyezua #alicemannfatoumatadiabate (at Red Hook Labs)
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Beautiful People Know Is a video installation exhibiting a young woman that slowly combs and braids her hair as a ritual to explore her identity and protect her natural hair due a long hair care ritual. She sews book pages to her hair and tries to protect them by hiding it in a braided hairstyle while the book pages of wisdom and awareness are crushed into small hair buns. Her hair care is slow and requires patience from the viewer to connect to the fear of not being accepted in our society, with the feeling of resistance, with the feeling of hair as a political act and with the feeling of hair as the root of identity, BLACK IDENTITY. Beautiful people know … The audio is from a 70´s hair commercial from Afro Sheen. Online posted as “Afro Sheen Ad 4″
Keyezua (Angolan, b. 1986) - Fortia - Sailing Back to Africa as a Dutch Woman 02, 2017
NOTHING
In times of crisis people look for a safe place to be jobless without social criticism. Being at the beach in the morning, during normal working days in a society that works with an economic system that requires 35 to 40 working hours a week fuels criticism and stigmatisation. NOTHING focuses on the young and jobless that go to the beach to find a group of people doing the same day routine, “NOTHING”. Keyezua paints their bodies as a social marker, distinguishing the jobless from the worker.
"only the jobless would accept such an exposure to savagery" screamed the rich man while walking on the beach with his guard"
Their painted bodies is exhibited at the beach in resting poses to exhibit solitude, safety and peace. NOTHING is an invitation to initiate a dialogue on why these young men are homeless, doing “NOTHING” and are considered "DANGEROUS" for doing "NOTHING". During the crisis different groups of young, jobless men visit the beach to avoid confrontation with their own reality, specially due the difficulty to financially support themselves or their families. They lay or seat on the beach for hours to forget time and receive a new day to try to do SOMETHING.