{"id":25789,"date":"2025-09-03T15:14:15","date_gmt":"2025-09-03T13:14:15","guid":{"rendered":"https:\/\/kunsthaushamburg.de\/?p=25789"},"modified":"2025-09-09T12:47:32","modified_gmt":"2025-09-09T10:47:32","slug":"opening-17","status":"publish","type":"post","link":"https:\/\/kunsthaushamburg.de\/en\/opening-17\/","title":{"rendered":"Opening"},"content":{"rendered":"

\"Detail<\/p>\n

Detail of: Nicholas Odhiambo Mboya, Rite of Passage, 2020, Courtesy the artist<\/span><\/p>\n

\n

Friday, 26 September 2025, 7 pm
\nOpening
\nNicholas Odhiambo Mboya<\/strong>
\nUtopia – Dystopia<\/strong><\/em>
\nIntroduction: Anna Nowak
\nDJ-Set: yung_womb<\/a><\/span><\/p>\n

Free admission<\/p>\n

\n

In his multimedia works, Nicholas Mboya addresses socio-political realities in his home country of Kenya alongside experiences of the African diaspora in Germany. In his first institutional solo exhibition, the Hamburg-based artist reflects on the field of tension between idealized notions of belonging and actual experiences of exclusion.<\/p>\n

\n

The kinetic installation Transit Point <\/i>(2023) is the central work of the exhibition. Its motorized doors, which open and close as if by themselves, serve as a metaphor for translocal experiences and social as well as linguistic thresholds. The work transforms the space into a panopticon of controlled freedom of movement, hinting at the internalization of bureaucratic surveillance in the lives of migrants. New, large-format paintings negotiate waiting as a social choreography – as a transitional moment, in which hope, exclusion and belonging manifest themselves. They are complemented by self-portraits, drawn on copies of official documents, which illustrate the weight of administrative procedures between the registration and attribution of identities.<\/span><\/p>\n<\/div>\n

\n

Utopia – Dystopia<\/span><\/i> explores migration, structural invisibility and external as well as self-perceptions in a present shaped by colonial continuities. It places the body at the centre – as a site of political inscription, as an archive of individual and collective memory, as an actor in the midst of social negotiation processes. And it invites us to question existing systems – poetically condensed and politically urgent.<\/span><\/p>\n<\/div>\n

\n

Kindly supported by<\/p>\n

\"Hamburgische<\/p>\n","protected":false},"excerpt":{"rendered":"

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