Mothership Manifold

Mothership Manifold

Artist bios:

Bogosi Sekhukhuni (b. 1991, Johannesburg) describes himself as a ‘lightworker’. He studied at the University of Johannesburg, South Africa. He has exhibited at the New Museum (NYC), the Museum of Contemporary Art Chicago, the 2017 African Biennale of Photography (Bamako), LUMA Westbau (Zürich), Fondation Louis Vuitton (Paris), Steve Turner Contemporary (LA), the 2nd Kampala Biennale, the 9th Berlin Biennale, the Dakar Biennale, the Centre Pompidou (Paris), the Tate Modern (London), MoMA Warsaw, and locally in Cape Town at Stevenson and Whatiftheworld, etc. Sekhukhuni is a founding member of the ‘tech-health artist group’ NTU and has worked with the CUSS Group collective. His most recent project is a ‘visual culture bank and research gang’ called Open Time Coven, which investigates ’emergent technologies and repressed African spiritual philosophies’.

Tabita Rezaire is infinity incarnated into an agent of healing, who uses art as a mean to unfold the soul. Her cross-dimensional practices envision network sciences – organic, electronic and spiritual – as healing technologies to serve the shift towards heart consciousness. Navigating digital, corporeal and ancestral memory as sites of struggles, she digs into scientific imaginaries to tackle the pervasive matrix of coloniality and the protocols of energetic misalignments that affect the songs of our body-mind-spirits. Inspired by quantum and cosmic mechanics, Tabita’s work is rooted in time-spaces where technology and spirituality intersect as fertile ground to nourish visions of connection and emancipation. Through screen interfaces and collective offerings, her digital healing and energy streams remind us to see, feel, think, intuit, download, know and trust beyond western authority but towards the soul. Tabita is based in Cayenne, French Guyana. She has a Bachelor in Economics (Fr) and a Master of Research in Artist Moving Image from Central Saint Martins (Uk). Tabita is a founding member of the artist group NTU, half of the duo Malaxa, and the mother of the energy house SENEB.

manuel arturo abreu (b. 1991, Santo Domingo) is a poet/artist from the Bronx. They live/work in a garage in southeast Portland, and received their BA in Linguistics (Reed College, 2014). They use what is at hand in a process of magical thinking, with attention to ritual aspects of aesthetics. Recent exhibitions, projects, and discourse at AB Lobby Gallery (PSU, Portland), Yaby (Madrid), MoMA and MoMA PS1 (NYC), NCAD Gallery (Dublin), AA|LA Gallery (Los Angeles), Centre d’Art Contemporain (Geneva), Veronica (Seattle), Rhizome and the New Museum (online), and locally in Portland at the Art Gym, Yale Union, Open Signal Portland Community Media Center, S1, etc. abreu wrote two books of poetry (List of Consonants and transtrender) and one book of critical art writing, Incalculable Loss (Institute for New Connotative Action Press, 2018). abreu composes club-feasible worship music as Tabor Dark and co-facilitates home school.

Friday, May 10, 2019

510 Oak St. Eugene, Or 97401


Poetry reading by manuel arturo abreu

Screening of work by Bogosi Sekhukhuni and Tabita Rezaire

Discussion with Bogosi Sekhukhuni and manuel arturo abreu

Free and open to all


Sekhukhuni and Rezaire’s practices each deal with digital capacities for utopia, the impact of network on affect, and the invocation of aspects of pop and the occult as tools for self-healing and engaging collective trauma. They also collaborate on the NTU project, an artist-tech-health group that produces exhibitions, installations, conversations, and abstract technologies related to spiritual repair. abreu curated a selection of each artist’s moving image work after a brief poetry reading from their new chapbook “obsequies,” a small text that deals with ancestry, pentecost, and the nonlinearity of time. The screening was followed by a discussion with Sekhukhuni and abreu on topics such as the potential of digital spells, the power of dreams, and the critique of afrofuturism.

This programming owes its existence to a model curated and organized by Hanna Girma in Dec 2018 for MoMA Modern Mondays, featuring a screening of Sekhukhuni’s work followed by a discussion between the artist, abreu, and Girma.

Presented byhome school and the Center for Art Research and Department of Art at the University of Oregon