Nigerian-born, Belgium-based Otobong Nkanga (b1974), has long been exploring - through drawings, installations, performance, photographs and sculptures - the links, both fragile and enduring, that connect humans to the land around us via the resources we use and abuse.
For Artes Mundi 8, she is showing two large works, set within a strangely somber and meditative space at the far end of the gallery, with its own pyramidal roof.
Placed on a black carpet, the contemplative quality of these pieces induces an instant hush in the visitors. We see a circle within a circle of elemental items within her sculptural piece Manifest of Strains (2018), occasionally hissing loudly (to represent air) and heating up (fire). This is framed by a large tapestry, titled Double Plot (2018).
• The Artes Mundi exhibition runs until 24 February 2019 at the National Museum Cardiff. The prize announcement will be on 24 January 2019.
Interview by VERONICA SIMPSON
Filmed by MARTIN KENNEDY
Richard Demarco interview: ‘The art world, like the Edinburgh festival itself, is in danger of being identified with the world of entertainment and leisure’
Richard Demarco has organised exhibitions and theatre events for the Edinburgh festival since 1963. He talks about his memories of the very first festival in 1947, bringing Joseph Beuys to Scotland, his own work as an artist and the Demarco Archive
Agathe Sorel interview: ‘I never have an idea in advance, even now. Experimentation spreads through all my work’
Agathe Sorel talks about her battle to get printmaking recognised in art colleges, her unconventional use of the engraved line, the influence of maths and science on her work – and being kicked out of photo shops
Lisa Corinne Davis: interview
Lisa Corinne Davis talks to Lilly Wei about her multilayered, map-like paintings, the complex relationship between race, culture and history, and her hope that her work will challenge preconceived notions of identity
Inside the Ordinary-Fantastic World of a Pop Artist
A new book published by the Museum of Modern Art (MoMA) in New York, Claes Oldenburg: Writing on the Side 1956–1969, collects a portion of Oldenburg’s thousands of pages of writings but fully demonstrates that writing was an essential part of his practice from the start.
A Delicate Game of Cat-and-Mouse
Interviews with Artists 1966-2012 by Michael Peppiatt. Yale University Press, 2012. The experience of art is not merely a matter of looking at it, but thinking and talking about it. For nearly 50 years, English critic and biographer Michael Peppiatt has been getting artists to talk about the art they create, offering readers ways to consider the art they see, and sparking curiosity about the artists who made it.