The seats in the theatre are still empty when the performer – the artist – enters the frame. She speaks about a colonial flashback. She is haunted by a series of historic photographs of or taken by the Austrian ethnographer Paul Schebesta in the 1930s, in the Belgian colony of the Congo.
Belinda Kazeem-Kamiński
self
The seats in the theatre are still empty when the performer – the artist – enters the frame. She speaks about a colonial flashback. She is haunted by a series of historic photographs of or taken by the Austrian ethnographer Paul Schebesta in the 1930s, in the Belgian colony of the Congo.
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