The Soaps Are Made Of Materials Like Oil, Butter, Charcoal, And Lye, Which Are Extracted From Various Regions Before They Are Combined Into A Single Consumer Commodity and Once More Distributed All Over The World.

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While performing, Nkanga narrated surreal tales about individuals caught in the sweep of industrialization who cannot be sustained by their new lifestyles, forcing us to question the sacrifice we make in exchanging industrialization for our relationship with nature. The permanent works in the exhibition express similarly nuanced critiques. “The Weight of Scars” exemplifies Nkanga’s characteristic use of woven textiles, surreal forms, map-like motifs, and photography. Photographs of marred landscapes, which serve as indices of market-driven extraction, are caught in a white web pulled ever more tightly by maimed human forms. Their labor is depicted as responsible for their own disfigurement. The piece reiterates questions the artist poses in a video outside the gallery: Why don’t we treat our environment as we would our bodies? Why do we view them as separate entities?  Another impressive work is “Carved to Flow,” in which circular towers are composed of bricks of soap. The soaps are made of materials like oil, butter, charcoal, and lye, which are extracted from various regions before they are combined into a single consumer commodity and once more distributed all over the world. This circularity is echoed by the form of the soap towers. “Carved to Flow” is not heavy-handed in its critique of global capitalism; it simply reminds us that the very products we use to nourish our bodies, and whose trade forms the staple of our societies, often have a completely different impact on the bodies and societies from which they spring. Nkanga urges us to remember this impact, which is precisely why visitors have the opportunity to purchase the soap at select times while the exhibition runs. Proceeds go to Nkanga’s Carved to Flow Foundation, which supports education about the value of land, natural resources, and ancestral knowledge in Nkanga’s native Nigeria.  As Nkanga said to Kholeif at the exhibition’s opening, “the whole world is actually a colonial space.” To Dig a Hole That Collapses Again helps to bridge the gap between the individual and the legacies of colonialism, particularly as they relate to the environment.

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