Where I’m Coming From

3rd to 30th August 2020 Curated by _inventory platform (Linda Rocco & Rhine Bernardino). Supported by the Yinka Shonibare Foundation and the Ministry of Culture, Taiwan.

WATCH THE FULL PROGRAMME: http://www.inventoryplatform.org/

week 1: Filipino

The first week of #WICF began with Gynophobia a live performance hypnosis by Lilibeth Cuenca Rasmussen with real-time Filipino ‘beki’ lingo translation by Floyd Scott Tioganco. Followed by the screening of ‘Seeing Pilar’ a documentary from 2001 currently in the collection of Malmo Art Museum about the artist’s experience staying at her grandmother’s place in a ghetto in Manila while pregnant. The second artist showcased was Vanessa Scully presenting a new work titled ‘Black Hair. Brown Nipples. Purple Lips’ a series of 21 text-based GIFs confronting the language used to described ‘Asians. Scully collaborated with sex workers to establish equally comparable terms to clarify ‘Whites’. Finally, Rhine Bernardino performed ‘To Suffer and Dye for Theemonyo’ a durational live performance (9am to 5pm) wherein she sews a continuous thread of toilet paper with her own hair – while listening to the Philippine National Anthem on repeat. The week ended with a cooking session by Pinoy’s Kitchen, a group comprising leaders and members of Filipino migrant community associations in the UK, preparing Adobo, the quintessential Filipino stew. 

week 2: Berber

The second week of #WICF dedicated to Berber languages, presented a series of 3 minimal animated GIFs by Aicha El Beloui using Berber alphabet (Tifinagh) to illustrate motion, action and progress. The actions are more obvious than the letters forming them, still unknown, and hardly identifiable to the majority. The soundtrack is made of the sound of effort, also excluding the letters, as a way to subtly emphasize the invisibility of the communities behind the labour. Second artist showcased was Fatima Mazmouz with a new autobiographical video work questioning the meaning of origins through cultural/affective and political attachments. Lastly Mounir Gouri presenting a new performance piece titled ‘Touch My Language’ and ‘My Land’ (2016), a video work on the links between the Algerian identity, the desert and sand. The week terminated with a dreamy cooking session by Mr Berber Cook preparing for us a Tajine of octopus on the beach of Morocco. 

week 3: Taiwanese

The third week of #WICF, dedicated to Taiwanese language, kickstarted with ‘Map’ and ‘Belongings’ two new video works by Aki Pao-Chen Chiu using Hokkien to narrate the artist’s fragmental memories from Taiwan. The programme continued with ‘Words without words’ a new series by Yun Ling Chen exploring theories that deconstruct the institutionalised approach to naming, to untie the assumed stable relationship between humans and objects. And finally Kuan Yu Chen presenting a pre-recorded performance inspired by her childhood in the province of Pingtung (South Taiwan) using movement and footage from this year Dragon Boat festival. The week terminated with a mesmerising cooking session by chef Keegan Chen and Lilly Yang preparing Yilian Green onion cakes. In the session, Keegan visited his neighbour and fellow Taiwanese immigrant Pao who runs a family business in London producing fermented food products.

week 4: Yoruba

The fourth and final week of #WICF programme, dedicated to Yoruba languages, began with a Live performance by Taiwo Aiyedogbon engaging for 1h30min a group of young man and Yoruba poetry. The programme continued with Aderemi Adegbite presenting a new video work. ‘ABD Olowe’ interrogates the application of tonal marks and the internal rhyme of Yoruba poetics. Finally Jelili Atiku performed with his son ‘Stand,Wait,Listen for Ògìrììyàndá’ a new piece inspired by Ifá sacred poetry. The week ended with a cooking session by Idowu Banki preparing Amala,Ewedu Ati Omi Obe

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