Janine Jembere’s practice spans video, sound, installation and performance. Her research and work are often collaborative, revolving around sensuality and the body, and questioning concepts of translatability, ableism, race and gender.
Janine Jembere (b. 1985 in Magdeburg/DE) studied visual communication and media at the University of Fine Arts in Hamburg/DE (2005–2011) and was a guest student at the Department for Fine Arts and Design at the Addis Abeba University/ET (2008). Jembere’s practice spans video, sound, installation and performance. Her research and work are often collaborative and revolve around sensuality and the body, mainly questioning concepts of representation/translatability, ableism, race, and gender. She is theory curator for Tanzquartier Vienna and a researcher in the project DisPossession: Postparticipatory Aesthetics and the Pedagogy of Land, working with letters, petitions and articles about German colonial rule written by Africans between 1880 and 1914, at the Academy of Fine Arts in Vienna/AT, where she is also finishing her dissertation on dissonance as a tool to reimagine difference. Jembere lives and works in Vienna/AT and Berlin/DE.
Jembere’s works have been exhibited among others at: Detroit Public Library, Detroit/US (2019); Research Pavillion at the 57th Venice Biennale/IT (2017); mumok, Vienna/AT (2016); Dokumentarfilmwoche Duisburg/DE (2014); Haus der Kulturen der Welt, Berlin/DE (2014); transmediale, Berlin/DE (2014); Temps d’Images, Lisbon/PT (2012); Ballhaus Naunynstrasse, Berlin/DE (2012); Golden Pudel Club, Hamburg/DE (2012); University of Music Hanns Eisler, Berlin/DE (2010).
The following artwork will be shown as part of the EVROVIZION.CROSSING STORIES AND SPACES project:
Residence Time I (Atlantic Ocean, 29 April 2013), photograph, fine art print on Alu-Dibond, colour, framed, 147.8 × 111.2 cm, Bonn/DE, 2020.
Residence Time II (Atlantic Ocean, 29 April 2013), photograph, fine art print on Alu-Dibond, colour, framed, 147.8 × 111.2 cm, Bonn/DE, 2020.
Residence Time III (Atlantic Ocean, 5 May 2013), 18 photographs, fine art print on Alu-Dibond, colour, 40 × 38 cm each, Bremen/DE, 2020.
Residence Time IV (Atlantic Ocean, 30 April 2013), 10 photographs, fine art print on Alu-Dibond, colour, 40 × 38 cm each, Bremen/DE, 2020.
© Janine Jembere
Paperlands (Detail – German Federal Archives 1001/various nos., Imperial Colonial Office/Reichskolonialamt), 22 photographs, print on paper, black and white, 21 × 29.7 cm each, Berlin/DE, 2020.
Paperlands (Detail – German Federal Archives 1001/4202, Imperial Colonial Office/Reichskolonialamt), photograph, print on paper, black and white, framed 30 × 40 cm, Berlin/DE, 2020.
Courtesy of Janine Jembere and the German Federal Archives in Berlin
Janine Jembere’s work Residence Time positions itself in the grey area between the documented and the ephemeral, between documentary and artistic endeavour. Her photographs of the Atlantic Ocean and reproductions of files from the archives of the German Imperial Colonial Office share a fuzziness that can be understood here both formally and in terms of their content. The imagery of this four-part work is dominated by motion and repetition. Residence Time is based on indepth research into colonialism and the German fascism that puts the spotlight on their traces in the present rather than on the facts of the past. The term ‘residence time’ is taken from Christina Sharpe’s book “In The Wake: On Blackness And Being”. In a talk with a biologist, we learn that it takes 260 million years for human blood to disappear from the oceans. Jembere uses the term ‘residence’ as a starting point for her quest to uncover the continuing impact of colonialism down to the present day. With her work, Jembere translates efforts to deal with Germany‘s colonial past and with human life and death into artistic imagery that is at once poetic and forceful, heightening our awareness of this issue. Residence Time shows why history should not be viewed as something that is completed, but rather as an ongoing process. In the same way, people should not be viewed as having disappeared, but rather as unruly contemporaries whose existence transcends time and place. The work fashions a link between the ships engaged in the transatlantic slave trade and the boats employed by modern-day human traffickers as they transport refugees across the Mediterranean Sea, and as such calls into question the wisdom of the EU’s immigration policies.
The Residence Time series is part of the ifa art collection.
Kunstpreis der Böttcherstraße in Bremen 2020
The Kunsthalle Bremen presents ten promising positions in contemporary art. Renowned curators such as Johan Holten, Bonaventure Soh Bejeng Ndikung and Bettina Steinbrügge have nominated ten artists from German-speaking countries, whose works can be seen in an exhibition at the Kunsthalle Bremen from August 29 to November 1, 2020. The nominees included also artists from the EVROVIZON project: Janine Jambere, Henrika Naumann and Nevin Aladag
Selma Selman - Risk Change
*In 2018, I was part of the third international interdisciplinary art exhibition Personal, as part of the project Risk Change for which I received the White Aphroid Award for my works Dangers of the Body, The Body in Danger, Viva la Vida We Who Are Dreaming of. As part of the Risk Change project, my work was a part of My Art Is My Reality exhibition at the Museum of Modern and Contemporary Art, Rijeka (CR), curated by Sanja Kojić Mladenov. The Risk Change project gives a chance for those artists who genuinely GIVE so much attempt for change of society while using art, technology, and mobility. Therefore, it allows us to think outside of the box and make sure that we can have a better future if you all respect those categorized as others. *Selma Selman
Emilija Škarnulytė at Kunsthaus Pasquart
EMILIJA ŠKARNULYTĖ – Sunken Cities at Kunsthaus Pasquart, 3 July – 29 August With Sunken Cities (2021), Emilija Škarnulytė creates an immersive film environment in the Galeries, in which the different rooms function as a time-line. She produces the effect of total immersion in a multi-dimensional landscape in which our gaze is duplicated by the mirrored ceiling and we simultaneously become witnesses of a future, contemporary and past world. The artist opens the perspective with this black, reflective surface, allowing us to experience it as a visual horizon that looks like an ocean of liquid oil.
Nevin Aladag, Kunstforum, Bd. 262
Kunstforum, Bd. 262 Borderlines **Nevin Aladağ** Mustergültiges für unsere Zeit Ein Gespräch von Sabine Maria Schmidt Nevin Aladağ gehört aktuell zu den international gefragten Künstlerpositionen aus Deutschland. 1972 geboren im türkischen Van, ein Jahr später umgesiedelt nach Stuttgart, ausgebildet in München, ansässig in Berlin, steht sie für eine Position, die fern politischer Identitätsdebatten freie künstlerische Ausdrucksmöglichkeiten findet. In zahlreichen Werkserien untersucht sie die Kraft und den Erfindungsreichtum von kulturellen Transfers. Ihre Arbeiten handeln von Selbstbestimmung, Rollentausch, Fremdwahrnehmung und Multiperspektivität. Klischees und vorgeformtes Wissen werden grundlegend hinterfragt. Und sie nutzt die Poesie von Stimmen und Klängen, die sie unterschiedlichsten Körpern und selbstgebauten Instrumenten entlockt.