#22 art talk – The True Size of Africa – second part

Verena Feldbausch: Hello, Dr. Solte-Gresser, and thank you very much for taking the time to talk to me. Our topic is the cooperation between the World Cultural Heritage Site at the Völklingen Ironworks and the Käte-Hamburger-Kolleg for Cultural Practices of Reparation at the University of the Saarland for the exhibition “The True Size of Africa.” What is the Kolleg’s contribution to the exhibition?

Prof. Dr. Solte-Gresser: Yes, it’s been quite a while since the General Director of Völklinger Hütte, Ralf Beil, asked us if we would like to take part in this huge project, the exhibition. We were very keen to contribute. This was a great opportunity to present our research ideas to the general public.

We were involved in the scientific aspects of this entire project. We brought in our networks, co-edited the exhibition catalog, and worked on texts for the exhibition together with our team. We discussed the concept extensively. The most important and exciting aspect for us is that we had artists and scientists in our college who contributed directly to this exhibition.

For example, Elara Bertho, an African expert, shared her expertise, and three artists in residence—Zineb Sedira, Memory Biwa, and Géraldine Tobe—were with us for months. They worked closely with us and prepared the artworks that are now part of the exhibition. It was a long and very exciting process.

Verena Feldbausch: How was the collaboration with the artists? Let’s start with Zineb Sedira, a French artist with Algerian roots. She created the work “Standing Here, Wondering Which Way to Go” for the exhibition. Could you describe how this collaboration unfolded?

Prof. Dr. Solte-Gresser: Zineb Sedira has a fascinating artistic history. She represented the French Pavilion at the Venice Biennale in 2022, where her living room was already a central theme. Markus Messling, one of our colleagues, knows her work well and has researched it extensively, which helped establish contact with her.

Verena Feldbausch: How did the visit to the Ironworks influence her work?

Prof. Dr. Solte-Gresser: One of the key aspects of our collaboration was visiting the Ironworks together. When she saw the exhibition space, she was thrilled, like all the artists who come and say “Wow!” at the opportunity to exhibit in such a unique place. She also contributed intellectually, particularly to the reparations theme, by conducting a workshop with our fellows.

We discussed her work with 12 scientists from around the world, focusing on concepts like archives and their relevance to her art. Her work, which re-creates her London living room, takes us back to the 1960s in Algeria. It’s a walkable space that immerses visitors in an atmosphere filled with movie posters, books, and music of that era, evoking the spirit of pan-Africanism and the hopes that followed Algeria’s independence.

Verena Feldbausch: That sounds fascinating. Moving on to Memory Biwa, a Fellow from Namibia. Her installation “Ozerandu” features the color red prominently. What is the significance of this color, and what can visitors experience in her installation?

Prof. Dr. Solte-Gresser: “Ozerandu” is a deeply evocative work rooted in Memory Biwa’s Namibian heritage. The red in her installation connects the dusty landscapes of Namibia’s deserts with the fiery glow of steel production at the Völklingen Ironworks. The parallels she draws between industrial production in Germany and the extraction of raw materials in Namibia highlight a history of exploitation and colonial violence.

Verena Feldbausch: What kind of experience does her work offer visitors?

Prof. Dr. Solte-Gresser: Her work combines visual and auditory elements to create a multisensory experience. Visitors hear sounds from steel production in Dillingen, water splashing, and cultural rituals, which intertwine different places, times, and narratives. The installation is a poignant commentary on the interconnected histories of Namibia and Germany.

Verena Feldbausch: And Géraldine Tobe from the Congo has also created something unique with her work “Empty Song.” Could you elaborate on her technique of using smoke on canvas and what her work represents?

Prof. Dr. Solte-Gresser: Géraldine Tobe’s technique is extraordinary. She uses Congolese oil lamps to produce smoke and soot, which she then manipulates to create her images. Her series “Empty Song” reflects both collective and personal histories, particularly those tied to the Democratic Republic of Congo and the traumas of colonization.

Verena Feldbausch: What do her haunting images convey?

Prof. Dr. Solte-Gresser: The images are haunting and layered with meaning. For example, one depicts a man sitting atop a mountain of skulls, symbolizing the brutality of colonial violence. Another shows figures engaged in conflict, while others appear to embody traditional Congolese elements, such as masks. Her technique transforms fire—a symbol of both destruction and catharsis—into a medium for art and healing.

Verena Feldbausch: The exhibition also features African sculptures displayed alongside her works. What role do these sculptures play in the overall narrative?

Prof. Dr. Solte-Gresser: The sculptures, from a significant collection of African art, bridge the past and present. They serve as a connection between the ironworkers of Völklingen and the African traditions disrupted by colonialism. The interplay between Tobe’s works and these sculptures creates a dynamic where visitors are prompted to reconsider Africa’s historical and cultural dimensions.

Verena Feldbausch: Finally, could you tell us about the Käte-Hamburger-Kolleg and its role in this project? What other projects are in the pipeline?

Prof. Dr. Solte-Gresser: The Käte-Hamburger-Kolleg focuses on cultural practices of reparation. Named after the Jewish literary scholar Käte Hamburger, who experienced exile and displacement, the Kolleg explores how cultural practices address historical damage and loss.

While this collaboration with the Ironworks is exceptional in scale, our primary work involves research, publications, and interdisciplinary discussions. Future projects may include partnerships with the Saarland State Theater and initiatives led by our current artist in residence, Kossi Efoui, a renowned writer and theater director from Togo.

Verena Feldbausch: Thank you, Dr. Solte-Gresser, for sharing these insights. It’s been truly enlightening.

Prof. Dr. Solte-Gresser: Thank you, Verena. I hope everyone has the chance to experience this exhibition.

Verena Feldbausch: That’s it for this episode of Art Talk. Be sure to visit “The True Size of Africa” at the World Cultural Heritage Site at the Völklingen Ironworks. Until next time, I’m Verena Feldbausch.