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  • Open a larger version of the following image in a popup: Austin Martin White, In the rubber coils, 2020
    Open a larger version of the following image in a popup: Austin Martin White, In the rubber coils, 2020 Installation view, Austin Martin White, 'Last Dance', Capitain Petzel, 2022
    Open a larger version of the following image in a popup: Austin Martin White, In the rubber coils, 2020 In The Rubber Coils. Scene - The Congo ‚Free‘ State, Linley Sambourne depicts King Leopold II of Belgium as a snake entangling a congolese rubber collector / published in 1906

    Austin Martin White

    In the rubber coils, 2020
    Burlap, rubber, pigment, vinyl and screen mesh
    109 x 68.5 cm
    42.9 x 27 inches
    B-AMWHITE-.22-0007

    Further images

    • (View a larger image of thumbnail 1 ) Austin Martin White, In the rubber coils, 2020
    • (View a larger image of thumbnail 2 ) Austin Martin White, In the rubber coils, 2020
    • (View a larger image of thumbnail 3 ) Austin Martin White, In the rubber coils, 2020
    For White, colonial image production is entangled with a contemporary collective memory as well as the reproduction of racist power dynamics. This play of references permeating throughout White’s artistic practice...
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    For White, colonial image production is entangled with a contemporary collective memory as well as the reproduction of racist power dynamics. This play of references permeating throughout White’s artistic practice operates like active traces that continuously recur in the past and influence the present. Jacques Derrida termed this phenomenon hauntology in 1993. Through the concept of hauntology, the colonial past can be imagined as a ghost, a spectre, that haunts history, and can thus help perceive the persistence of today’s coloniality. For White, this concept holds the key to his archival research and its later decolonial and deconstructive undoing.
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