YOYI! Care, Repair, Heal
16 September 2022 to 15 January 2023
Featuring the diverse and sometimes conflicting perspectives of 25 artistic positions, YOYI! Care, Repair, Heal addresses issues such as the politics of health, the resilience of Indigenous knowledge systems, forms of kinship, fair land use and its distribution, decoloniality and the rights of the non-human, all entangled with various concepts of care, repair and healing.
About the exhibition
YOYI is the name of the ceremonial song, dance and coming together that is central to Tiwi culture in northern Australia. YOYI! Care, Repair, Heal references this exclamation – an invitation to come together in celebration and mourning. The 25 invited artists and collectives embody just as many different strategies to critically challenge, re-invent, expand, perpetuate and disavow notions of care, repair and healing. Certain artists provide a critical lens on how the concept of care has been misused. Others propose methods of repair that differ significantly from Western perspectives. Finally, some ask if healing is possible or even needed. This spectrum of voices resonates through works in video, installations, paintings and performances, exhibited together across the entire ground floor of the Gropius Bau.
With works and contributions by Pierre Adler, Brook Andrew, Kader Attia, Tosh Basco, Mohamed Bourouissa, Andrea Büttner, Lavkant Chaudhary, Lygia Clark, André Eugène, Artemisia Gentileschi, Johanna Hedva, Jilamara Arts & Crafts Association, Anne Duk Hee Jordan, Eva Kot’átková, Betty Muffler & Maringka Burton, Grace Ndiritu, People’s Archive of Rural India, Outi Pieski, Paula Rego, Tabita Rezaire & Amakaba, Georgia Sagri, Yhonnie Scarce, Reginald Sénatus (Redji), SERAFINE1369 and Wu Tsang
Curated by Brook Andrew, Kader Attia with Giscard Bouchotte, Natasha Ginwala, Bárbara Rodríguez Muñoz, under the curatorial lead of Stephanie Rosenthal in collaboration with SERAFINE1369, In House: Artist in Residence 2021
Certain artworks in this exhibition address physical and psychological trauma in relation to sexual and colonial violence, as well as legacies of National Socialism, sometimes in explicit depictions. In addition, some works use loud bass. Some visitors may find this troubling. Viewer discretion is advised.