Evan Ifekoya, Ritual Without Belief, Gasworks, London, 5 July – 2 September 2018. All rights reserved, DACS / Artimage 2022. Photo: Andy Keate, © 2022, ProLitteris, Zurich
Postscript Quantum to Cosmic Black and Queer Embodied Liberation As Spiritual Practice Evan Ifekoya
as brushing teeth on camera. For the Migros Museum, they take this one step further by asking how rituals have changed in light of the global pandemic? As I wrote in “The Healing of America”: The events of 2020 ask us to question how those who seek to change the world—whether through activism, community, or artistic practice—will maintain their mental health, when just thinking about the future creates anxiety.22 And now I ask how Evan’s own interest in a type of “erotic activism” through gender and Blackness will be part of that change also. Will it be a pawn in what I have seen and witnessed? Which is to say: Conversely, many other organizations have been drawn to the glamorous work of promoting Black curators and administrators to positions of power and collecting Black artists’ work—important efforts, but that’s not strictly what’s meant by “anti-racist” work.23 Or will it be something entirely different? More specifically: Will it be through sheer willpower and adrenaline (and inevitable burnout)? [And possibly] through the type of “joyful militancy” that Federici writes about—in which “knowing ourselves and each other’s limits is increasingly important”?24 Afterall, isn’t that what real healing is about?
Eine Erkundung von Sein und Wissen innerhalb und ausserhalb der visuellen Wahrnehmung
22 Ndiritu, “The Healing of America,” op. cit. 23 Ibid. 24 Ibid.
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Kojo Abudu & Evan Ifekoya im Gespräch
Evan Ifekoya, Prophetic Map I: Toju Ba Farabale (as part of the group exhibition Transformer: A Rebirth Of Wonder), 180 The Strand, London, 2 October – 8 December 2019. All rights reserved, DACS / Artimage 2022. Photo: Evan Ifekoya, © 2022, ProLitteris, Zurich
