Frida Orupabo
All is broken in the night

Opening – 26 APR 2024, 6-9 pm

Frida Orupabo
Hearts and Diamonds’ 2024, Detail

In her second solo exhibition at Galerie Nordenhake in Berlin, Frida Orupabo presents a new body of large-scale prints, collages and sculptures. Orupabo engages with archival practices and a therein lying power of images and speculation, that forcefully reflects onto questions of race, gender, identity, sexuality, the gaze and colonial violence. Leveraging the vast spaces of the internet, Orupabo cuts, reassembles and layers found images to form collages as transformed bodies and contexts. Trained as a sociologist, the artist first started collecting and presenting a carefully crafted personal archive via her Instagram account @nemiepeba in the early 2010s, while employed at a centre for human trafficking and sex workers. The artist creates her own narratives by way of manipulating an archival reality to oppose the lack of representation, having grown up in Norway, born to a white Norwegian mother and a Black Nigerian father. For Orupabo, ‘to create work that looks back at the viewer is a way to refuse to be made into an object, and to say, ‘I see you’.’ By experimenting with different modes of seeing and unseeing, she demands a way of actively looking at the work. Whether the collages are physical or digital, the cutting, layering, and placing of images emphasises a historical reinforcement of racial representations that needs to be formed anew.

Frida Orupabo
Sickbed I, 2024
Print
164 x 232 cm
Copyright the artist, courtesy of the artist and Galerie Nordenhake Berlin/Stockholm/Mexico City

Orupabo is trying to do something with the stuff of dishonoured histories, an imaginative feat that requires a belief that racialized terror is not an inevitability or merely another terrain of confinement that exhausts those writers, thinkers, artists, organizers, and conspirators that have sought to destroy it. Perhaps we might take from Orupabo the practice of being sincerely interested in the subjects relegated to history’s annals.

[Stefanie Hessler, ‘The Wayward Archive of Frida Orupabo’ in Frida Orupabo, ed. Stefanie Hessler (London/Trondheim:Sternberg Press, Kunsthall Trondheim, 2021), 30]

The artist shows us that to live and re/negotiate the gorgeousness of existing as an Ordinary Black BeingTM requires the constant exercise of assemblage, an opportunity to build and liberate new bodies and new modes of consciousness through a process of cutting, slicing, stitching, combining.

[Legacy Russell, ‘here i am1: The Internet of Frida Orupabo’ in Frida Orupabo, ed. Stefanie Hessler (London/Trondheim:Sternberg Press, Kunsthall Trondheim, 2021), 36]

Frida Orupabo
Sickbed II, 2024
Print
141 x 200 cm
Copyright the artist, courtesy of the artist and Galerie Nordenhake Berlin/Stockholm/Mexico City

Frida Orupabo
Picnic, 2024
Print
141 x 200 cm
Copyright the artist, courtesy of the artist and Galerie Nordenhake Berlin/Stockholm/Mexico City