THE SINKING SHIP/PROSPERITY, of the work of Brazilian nonbinary, interdisciplinary artist Jota Mombaça.
Although no amount of words can articulate that properly,
water will, in its undoing,
Hide some words and codes and sounds in its inconstancy.
Water will always contain,
the undone qualities
of the sunken,
their diluted memory. Water will.
-Jota Mombaça
Conversation with Jota Mombaça and critic Darla Migan
Monday, November 14, 2022
Performance by Jota Mombaça, for the debut of waterwill (2022)
Thursday, December 8, 2022
Publication Release: THE SINKING SHIP/PROSPERITY
Thursday, January 12, 2023
Mombaça defines themselves as a nonbinary travesti of color, Latin American slang that has been reappropriated by transfeminist activists and subjects as a local, political gender identity. Decolonialism, gender disobedience, and climate activism are often points of departure for their performative works, which have been exhibited at the 10th Berlin Biennale (2018), the 32nd and 34th Bienal de São Paulo (2016 and 2020), and the 22nd Sydney Biennial (2020).
Here in San Francisco, the artist, who will be in residence at KADIST SF from Oct-Dec, will present a new large-scale sculptural installation made from 160 feet of cotton that was once submerged for months in the Venetian lagoon and an accumulation of newly commissioned fabric sculptures comprised of bleached and dyed cobalt and black linen currently sinking in three locations around the San Francisco Bay. This piece, entitled Ghost 0 (2022), will be accompanied by sound and video works that explore water's restless, elemental properties. Making these fabric sculptures is a labor-intensive process. It involves twisting, wrapping, hauling, resurfacing, and draping.
The exhibition is the most recent in a cycle of works presented in the last year throughout Europe concerned with the elements, the trauma of the Transatlantic slave trade, and the rapidly increasing impact of climate change. In 'THE SINKING SHIP/PROSPERITY,' Mombaça continues a deep practice of radical transfeminist activism by asking what we might learn about decolonialism and combating climate change by listening to the water. The work, as with the previous, is guided by a poem penned by Mombaça that is below in the press release.
The works will be installed by Mombaça in stages as the exhibition evolves, expanded in an artist publication, and activated with events including a performance for the debut of their video, waterwill (2022), and a conversation with art critic and philosopher Darla Migan on themes emerging from the exhibition research.
Image Credits:
Image 1: Jota Mombaça. Documentation of installation components and sinking site in Amsterdam. Photo by Pedro Lima. Courtesy the artist.
Image 2: Jota Mombaça, too much conscious to be held by such a vulnerable entity, 2022. Photo by Sander van Wettum. Courtesy the artist.
Image 3: Jota Mombaça. Photo by Picture Alliance for DLD / Hubert Burda Media. Courtesy the artist.
show less
Although no amount of words can articulate that properly,
water will, in its undoing,
Hide some words and codes and sounds in its inconstancy.
Water will always contain,
the undone qualities
of the sunken,
their diluted memory. Water will.
-Jota Mombaça
Conversation with Jota Mombaça and critic Darla Migan
Monday, November 14, 2022
Performance by Jota Mombaça, for the debut of waterwill (2022)
Thursday, December 8, 2022
Publication Release: THE SINKING SHIP/PROSPERITY
Thursday, January 12, 2023
Mombaça defines themselves as a nonbinary travesti of color, Latin American slang that has been reappropriated by transfeminist activists and subjects as a local, political gender identity. Decolonialism, gender disobedience, and climate activism are often points of departure for their performative works, which have been exhibited at the 10th Berlin Biennale (2018), the 32nd and 34th Bienal de São Paulo (2016 and 2020), and the 22nd Sydney Biennial (2020).
Here in San Francisco, the artist, who will be in residence at KADIST SF from Oct-Dec, will present a new large-scale sculptural installation made from 160 feet of cotton that was once submerged for months in the Venetian lagoon and an accumulation of newly commissioned fabric sculptures comprised of bleached and dyed cobalt and black linen currently sinking in three locations around the San Francisco Bay. This piece, entitled Ghost 0 (2022), will be accompanied by sound and video works that explore water's restless, elemental properties. Making these fabric sculptures is a labor-intensive process. It involves twisting, wrapping, hauling, resurfacing, and draping.
The exhibition is the most recent in a cycle of works presented in the last year throughout Europe concerned with the elements, the trauma of the Transatlantic slave trade, and the rapidly increasing impact of climate change. In 'THE SINKING SHIP/PROSPERITY,' Mombaça continues a deep practice of radical transfeminist activism by asking what we might learn about decolonialism and combating climate change by listening to the water. The work, as with the previous, is guided by a poem penned by Mombaça that is below in the press release.
The works will be installed by Mombaça in stages as the exhibition evolves, expanded in an artist publication, and activated with events including a performance for the debut of their video, waterwill (2022), and a conversation with art critic and philosopher Darla Migan on themes emerging from the exhibition research.
Image Credits:
Image 1: Jota Mombaça. Documentation of installation components and sinking site in Amsterdam. Photo by Pedro Lima. Courtesy the artist.
Image 2: Jota Mombaça, too much conscious to be held by such a vulnerable entity, 2022. Photo by Sander van Wettum. Courtesy the artist.
Image 3: Jota Mombaça. Photo by Picture Alliance for DLD / Hubert Burda Media. Courtesy the artist.
THE SINKING SHIP/PROSPERITY, of the work of Brazilian nonbinary, interdisciplinary artist Jota Mombaça.
Although no amount of words can articulate that properly,
water will, in its undoing,
Hide some words and codes and sounds in its inconstancy.
Water will always contain,
the undone qualities
of the sunken,
their diluted memory. Water will.
-Jota Mombaça
Conversation with Jota Mombaça and critic Darla Migan
Monday, November 14, 2022
Performance by Jota Mombaça, for the debut of waterwill (2022)
Thursday, December 8, 2022
Publication Release: THE SINKING SHIP/PROSPERITY
Thursday, January 12, 2023
Mombaça defines themselves as a nonbinary travesti of color, Latin American slang that has been reappropriated by transfeminist activists and subjects as a local, political gender identity. Decolonialism, gender disobedience, and climate activism are often points of departure for their performative works, which have been exhibited at the 10th Berlin Biennale (2018), the 32nd and 34th Bienal de São Paulo (2016 and 2020), and the 22nd Sydney Biennial (2020).
Here in San Francisco, the artist, who will be in residence at KADIST SF from Oct-Dec, will present a new large-scale sculptural installation made from 160 feet of cotton that was once submerged for months in the Venetian lagoon and an accumulation of newly commissioned fabric sculptures comprised of bleached and dyed cobalt and black linen currently sinking in three locations around the San Francisco Bay. This piece, entitled Ghost 0 (2022), will be accompanied by sound and video works that explore water's restless, elemental properties. Making these fabric sculptures is a labor-intensive process. It involves twisting, wrapping, hauling, resurfacing, and draping.
The exhibition is the most recent in a cycle of works presented in the last year throughout Europe concerned with the elements, the trauma of the Transatlantic slave trade, and the rapidly increasing impact of climate change. In 'THE SINKING SHIP/PROSPERITY,' Mombaça continues a deep practice of radical transfeminist activism by asking what we might learn about decolonialism and combating climate change by listening to the water. The work, as with the previous, is guided by a poem penned by Mombaça that is below in the press release.
The works will be installed by Mombaça in stages as the exhibition evolves, expanded in an artist publication, and activated with events including a performance for the debut of their video, waterwill (2022), and a conversation with art critic and philosopher Darla Migan on themes emerging from the exhibition research.
Image Credits:
Image 1: Jota Mombaça. Documentation of installation components and sinking site in Amsterdam. Photo by Pedro Lima. Courtesy the artist.
Image 2: Jota Mombaça, too much conscious to be held by such a vulnerable entity, 2022. Photo by Sander van Wettum. Courtesy the artist.
Image 3: Jota Mombaça. Photo by Picture Alliance for DLD / Hubert Burda Media. Courtesy the artist.
read more
Although no amount of words can articulate that properly,
water will, in its undoing,
Hide some words and codes and sounds in its inconstancy.
Water will always contain,
the undone qualities
of the sunken,
their diluted memory. Water will.
-Jota Mombaça
Conversation with Jota Mombaça and critic Darla Migan
Monday, November 14, 2022
Performance by Jota Mombaça, for the debut of waterwill (2022)
Thursday, December 8, 2022
Publication Release: THE SINKING SHIP/PROSPERITY
Thursday, January 12, 2023
Mombaça defines themselves as a nonbinary travesti of color, Latin American slang that has been reappropriated by transfeminist activists and subjects as a local, political gender identity. Decolonialism, gender disobedience, and climate activism are often points of departure for their performative works, which have been exhibited at the 10th Berlin Biennale (2018), the 32nd and 34th Bienal de São Paulo (2016 and 2020), and the 22nd Sydney Biennial (2020).
Here in San Francisco, the artist, who will be in residence at KADIST SF from Oct-Dec, will present a new large-scale sculptural installation made from 160 feet of cotton that was once submerged for months in the Venetian lagoon and an accumulation of newly commissioned fabric sculptures comprised of bleached and dyed cobalt and black linen currently sinking in three locations around the San Francisco Bay. This piece, entitled Ghost 0 (2022), will be accompanied by sound and video works that explore water's restless, elemental properties. Making these fabric sculptures is a labor-intensive process. It involves twisting, wrapping, hauling, resurfacing, and draping.
The exhibition is the most recent in a cycle of works presented in the last year throughout Europe concerned with the elements, the trauma of the Transatlantic slave trade, and the rapidly increasing impact of climate change. In 'THE SINKING SHIP/PROSPERITY,' Mombaça continues a deep practice of radical transfeminist activism by asking what we might learn about decolonialism and combating climate change by listening to the water. The work, as with the previous, is guided by a poem penned by Mombaça that is below in the press release.
The works will be installed by Mombaça in stages as the exhibition evolves, expanded in an artist publication, and activated with events including a performance for the debut of their video, waterwill (2022), and a conversation with art critic and philosopher Darla Migan on themes emerging from the exhibition research.
Image Credits:
Image 1: Jota Mombaça. Documentation of installation components and sinking site in Amsterdam. Photo by Pedro Lima. Courtesy the artist.
Image 2: Jota Mombaça, too much conscious to be held by such a vulnerable entity, 2022. Photo by Sander van Wettum. Courtesy the artist.
Image 3: Jota Mombaça. Photo by Picture Alliance for DLD / Hubert Burda Media. Courtesy the artist.
show less
Date/Times:
3295 20th Street, San Francisco, CA 94110
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