An expansive drawing, slightly overlaid with tender hands, geometrical sketches, delineated leaves, and various actions by human figures, amongst other things, comprises the energized work The Remains (2016) by Christian Nyampeta (b. 1981, Nyarugenge/ Amsterdam). In the bottom half of this work are rounded arches encompassing various images, from objects to photographs of his past performances and sculptural works. The symbol of an arch can refer to openings, beginnings, or stepping through another perspective to glimpse at the other side; at the same time walking through an archway can represent sloughing off the old and moving into a new phase of life. Nyampeta has dedicated a significant part of his practice to the concept of “how to live together,” as both query and affirmation. The phrase derives from French philosopher and literary theorist Roland Barthes’ seminal 1977 lecture series at the Collège de France. Based on the philosophical and practical question of living together, Nyampeta’s work leans on the relational and pedagogical with projects that embrace the surrounding community with workshops, lectures, and performances while at the same time rooting themselves in sculptural elements and the figurative.
His project How To Live Together: A Blackboard (2015) is a permanent artwork at Church Street Library in London produced by Nyampeta and The Showroom (a gb11 fellow) in collaboration with a broad range of local groups and residents through a series of art and design workshops. Similar to The Remains, the long mural includes drawings of various activities such as sports, games, and study amongst other things. The main subject of the mural, much like in Nyampeta’s practice, is the importance of multidisciplinarity and collaborative practices as possible BC
self-presentation:
Owing to the generosity of many in teaching and in collaborative efforts spanning over a number of years, words would fail me if my expressions of gratitude were to do justice to everyone who, and everything which deserve my public acknowledgment.
Some of the formative moments which come to mind now include meeting Anjalika Sagar and Kodwo Eshun of the Otolith Group, from whom I have learned to think with the good heart.
I am indebted to the dialogues with Casco – Office for Art, Design and Theory in Utrecht, as these extend to the community of practices which constitute Casco.
Ongoing conversations and engagements with the staff and communities of The Showroom in London are also of great affect to me.
As a research student of Jean-Paul Martinon at the Visual Cultures Department of Goldsmiths, I am appreciating the uses of patience in the work of intellection. Finally, working with artist Emma Wolukau-Wanambwa and everyone involved in the African Cluster of Another Roadmap School has spurred me to think anew what sharing a grammar means.
