watching across the country what are you saying with this play? i see so many things that are racist all the time and it s so ingrained in the dna of our country, in the dna of my body i haven t processed the weight of child slavery in our country s dna. and some of this is uncomfortable difficult in the public realm and your play is highly sexual in its exploration of american racism. why? well, i think sex is at the core of so many of our discourses right now. and if you look at the person leading our country sex is at the center of his discourse. even so much of what we know about donald trump he s a philandering misogynist who has said public grab them by the p word you know?
perspectives of east west i mean african art as opposed to. trying to change paradigms i would say and i think we ve come a long way you know i think in the ten years we ve moved to pause a few things in berlin a few projects you know some of which. you know you see them brazil meeting in all the spaces around germany around the world today which we proposed a few years ago you know thinking of. on learning for example like this project colonial neighbors tell us a little bit about because that has a sort of there s a lot of talk about the looted art which has a connection doesn t it in a way it does have a connection i would say but the project you know came from very very humble spains you know which was the lack of you know discourses. german history you know so we discovered quite early that you would talk about you know
know artistic positions that beyond the west so it was a very eurocentric a very american essential space you know so to get a couple of friends you know the people that make up savvy to the thirty four people from all over the world we decided to put up a space really ten years ago you know the contemporary you know and i should point out you told me before we came out not a gallery this is very much a space is it is an art space you know it s a you know the edge of the gallery becomes a very commodified notion of where you buy and so our stuff like that we re not really interested in that we interested in positions you know in artistic positions in discourses we interested in proposals you know. change people s sort of ideas do you think your you have succeeded in changing people s
people s perspectives of east west i mean african art as opposed to. trying to change paradigms i would say and i think woof woof we ve come a long way you know i think in the ten years we ve we ve proposed a few things in berlin a few projects you know some of which. you know you see them brazil meeting in all the spaces around germany around the world today which we proposed a few years ago you know thinking of. on learning for example like this project colonial neighbors tell us a little bit about because that has a sort of there s a lot of talk about the looted out has a connection doesn t it in a way it does have a connection i would say but the project you know came from very very humble space you know which was the lack of you know discourses on german history you know so we discovered quite early that you would talk about you know
you know which was the lack of you know discourses on german history you know so we discovered quite early that you would talk about you know say cameroon and what people would tell you is that it s a french colony or an english colony you know and the forgotten that was a german colony and so we wanted to create a space you know. and it was supposed to be an archive of people you know so we did a couple of calls for people to look in the attics in the cellars and whatever the found that kind of narrated something about history brought. bad and a couple of others have been contextualizing this is objects you know but also and the words in the german language and so on and so forth you know that says something about the school and history but also street names you know as we know very much an old way of galleries a lot of african names. actually this piece is found in the plantation. of