Sammy Baloji finds that the violent legacies of Belgian colonialism in the past continue to haunt the presenting the form of multinational corporate extractivism and exploitation.
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‘Wakchakuna’ can be seen as Martínez Garay’s own symbolic gesture of restitution.
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This exhibition might be described as a collective haunting. The ghosts of dead and living women populate the show, their fates entwined by three films that touch on themes of memory, erasure, war and borders.
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