Rupturing Space-Time to Radically Dream
31–01–22
Overview: This essay looks at the ways in which art ruptures linear time to create the worlds that are otherwise possible. It is a mediation through the lens of time from scholars in the global south: Souleymane Bachir Diagne, Mohamed Iqbal, and Leopold Senghor through looking firstly, at rupture as protest, and then as art as a means to dream otherwise: a portal that allows us to dream other options- to philosophise otherwise. If a protest is a rupture of time, art is the portal into deaming.

Rupturing space-time to radically dream

‘Linear time’ as we know it, is tied to scientific understanding of time, where events have a past, present and future. This follows a trajectory that reduces time to measurement and space, or ‘space-time’. Linear time legitimises colonialism, as this trajectory is linked to progress and modernity through a timeline which benefits the advancement of the west and compresses subaltern temporal experiences to privilege a singular, dominant worldview. Linear time is also complicit in ‘epistemicide’, the destruction of other knowledges by imposing an alien mode of being onto them, in the positivist motto of ‘order and progress’ (Santos 2015, 2007 :4). The colonial matrix of power where the capitalist class control resources, gender, labour, time, economy, authority and knowledge, can be thought of as a ‘black hole’, a void of ‘homogenous empty time’, through which all of humanity is sucked into in linear singularity, speeding towards its own destruction. Opposing this is a gravitational mass that implodes the void, an eruption, an explosion, a supernova: ‘messianic time’, that sets light to the sparks of hope in the past in continuity with the present. It this rupture that allows us to ‘philosophise otherwise’ akin to clusters of stars (or different temporalities) existing alongside each other in a constellation. But first, we need to ‘reflect on the borders that separate these different dimensions’ (Mohomed 2017).

Introduction

In this essay I will look at variations of time and how we can imagine a constellation of coexisting temporalities as a space for solidarity in the global south to rupture linear time and radically dream. This, I would argue, is done through ‘intuitive’ and ‘creative time’ (Diagne 2008).

Firstly, I will show how linear time is tied to colonial matrix of power through Walter Benjamin’s idea of ‘homogenous, empty time’ (McLaverty-Robinson 2013). The subaltern may, at times, experience this linearity as ‘cyclical’ time as the past occurs in the present. I will then demonstrate how linear time is ruptured through specific moments in history, namely the moment that sparked the Arab spring in Tunisia and the action that sparked the Rhodes Must Fall (2015) protests in South Africa. I will discuss the dialectics of disruption to these ‘events’ (Badiou 2007) through Benjamin’s concept of ‘messianic time’ (McLaverty-Robinson 2013). Lastly, I will discuss how rupture creates an entry point for alternative ways of being in the world by converging points in Leopold Senghor, Henri Bergson, and Muhammad Iqbal’s concepts on ‘intuitive and creative time’ (Diagne 2008), as a means of ‘philosophising otherwise’, where art forms take precedence in imagining the end of the world to create life. The examples of ‘creative, intuitive time’ that I will use are in the writing and prose of Glissant, allegory in Shirin Neshat’s film Sililoquy (1999), Nolan Oswald Dennis’ Conditions (2021) and Afrofuturist thought located in Akomfrah’s The Last Angel of History (1995). The works of art that I use speak specifically to the condition of the state of time, and/or creation of another world.

Philosophising time

Time and space cannot be looked at outside of the power relations of empire on the global south. (Globalised) time appears to be monolithic, and in this temporality that the transnational capitalist class landlord over the labour of the subordinate classes: those in the global south operating on rented time, who contribute heavily to globalisation but remain prisoners of their local time-space (Santos 2007: 7), compressing their experiences into singularity. Linear time makes certain that what bell hooks terms the ‘white supremacist cis capitalist patriarchy’ (hooks 2005) are projected to the front and people who are marginalised, behind, on varying points on this timeline, intersectionally speaking, (Crenshaw 1991) as time impacts marginialised identities differently. Söderbäck (2012) asserts that black, queer, labouring and female people have been reduced to building the futures of those further up on this timeline— white, heterosexual men or women. Furthermore, labour unalienated from itself cannot be considered labour at all: it is only labour because of its sustenance it provides to white supremacy (Gamedze, 2021). This is demonstrative of how the west is dependent on the idea of linear time to support empire. ‘The annihilation of differences neatly situates everyone on the linear path that we call progress and that supposedly to be pursued in the interest of a neutral and abstract “all”, which is ‘time’ disguised as a natural and neutral force.

We can think of linear time as ‘homogenous time’, a concept by Walter Benjamin, who offers that it must be read congruently to a capitalist everyday experience of time, as each moment is empty and structurally identical to the next (McLaverty-Robinson 2013). It is designed to exploit labour of people to serve the linear time trajectory.The problem with the linear-progressive paradigm is that it is purposefully forgetful as it does not allow a return to the past for a sense of continuity, and that it is simultaneously repetitive as it traps the subaltern in the past, resurfacing traumatic episodes(Söderbäck, 2012: 303). Time then becomes cyclical for those on the margins. Linear time is an entrapment that does not to allow new imaginings of a liberated world to appear where people are not alienated from their labour, and are allowed to oversee their own destinies. As Fanon has said, ‘the present always serves to build the future’.

Benjamin offers an alternative mode of time for the subaltern: the ‘messianic moment’. This insurgent moment creates connections to the past, present and future where present revolts can be a redemption or continuation of the past, a transportation which ‘connects the ruins of the past to the now’. The messianic moment is a culmination of many moments erupting to create a new world from burnt embers. Opposed to homogenous time, it is not meaningless, but filled, ruptural, and qualitative. ‘The past and present meet in a lightning flash in a constellation, where messianism offers the passing away of the world’ (McLaverty-Robinson 2013). Here exists a portal into an alternative means of understanding time.

The idea of messianic moment is echoed in protest, its immediacy, for example, in the slogans of student-led Fees Must Fall protests of 2015 demonstrating cyclicality (past traumas in linear time): ‘in 1994 our parents were sold a dream, we are here for a refund’ or in the Zapatista Uprising’s Fourth Declaration of the Lacandon Jungle (1996), showing continuity: ‘these were our banners during the dawn of 1994. These were our demands during that long night of 500 years. These are, today, our necessities’.

Messianic moments of rupture

There are two cases of ‘messianic rupture’ that I will look at. The first occurred in the Arab Spring (2011), which was sparked by the moment that Muhammad Bouazizi set himself on fire after harassment from the police over his fruit and vegetable cart, because he was trading without a permit. This moment, attributed to the economic situation in the country, was the culmination of constant past repression, emblematic of the linear trajectory where the subaltern faced (cyclical) trauma imposed by the state which continued to show up in the present. The other case of messianic rupture was the Rhodes Must Fall protests (2015), initiated by student Chumani Maxwele throwing a bucket of shit from one of the townships in Cape Town over the statue of Cecil Rhodes on the university campus. It was a call for the decolonisation of the university, an action that was the culmination of cyclical moments that erupted to express the constant trauma students faced because of colonial mentality and its productions thereof.

In both instances, there existed an ‘arrest’ in time: the past was not something that those on the subaltern could go back to. It considered imagining an alternative way of being. These were moments that caused the ‘truth’ to ‘leap out of their context’ (McLaverty-Robinson 2013). In their respective cases, all of life was compressed into a single moment that ceased the colonial matrix of power, bringing linearity a halt, disrupting ‘business-as-usual’, at the prospect of creating a new normal.

These protests punctured the void of homogenous time and gave way to the messianic moment. In both these instances the actions led to the explosion of linearity: a ‘violent eruption of an outside, which breaks into the otherwise peaceful development of (white, northern) humanity’ (McLaverty-Robinson 2013). They can be read through the idea of Badiou’s ‘event’, where there is an arrest in the state of the situation and hegemonic way of being (i.e. linear space-time, or the colonial matrix of power) that renders the excluded invisible, ‘hiding inconsistent multiplicity’ (McLaverty-Robinson 2013). The ‘events’ took place because the trauma that caused the initiators to act were a result of unbearable living conditions and compression into linearity, which proved to be cyclical for them. These actions collapsed time and exploded into the possibility of a new world emerging. The messianic moment can be thought of as a portal between the world as we know it and a better one.

According to Benjamin, the catastrophe exists when there is a continuation of things as they are (the continuation of linear time). This is exemplified by the ‘business as usual’ period after protests, where movements de-escalate. The messianic moment, countering the idea of western ‘progress’, proves to be a radical intervention on linear time.

Dandia (2021) poses that if ‘normal’ is what created the current situation, we need to question the grounds for this ‘normalcy’, and develop ideas to free us from its clutches, by breaking out of ‘linear, rational, calculative conceptions of time and history that have been imposed on us’. Here, the present is posited as the answer to give way to redemption, and crisis as a place for possibilities and new ways of being in the world to arise, in times of messianism. To dream new possibilities, we should not align ourselves with paradigms that hold our imaginations hostage. What we require, Dandia suggests, is a mode of operating ‘crisis as freedom’. This idea is echoed in essay that Toni Morrison wrote (2015), expressing those times of dread (which can be read as messianic moments) is exactly when artists go to work:

There is no time for despair, no place for self-pity, no need for silence, no room for fear. We speak, we write, we do language. That is how civilizations heal… Like failure, chaos contains information that can lead to knowledge—even wisdom. Like art.’

Philosophising Otherwise: Intuitive time

Bergson claims that concepts of time need ‘philosophising otherwise’, to conceptualise time that is meaningful, and holds interiority.

Senghor interprets philosophising otherwise to consider the philosophy of others outside of Europe. Mignolo (2011) has made a similar claim, saying that many different worlds exist, and that there are other ways of knowing (being, experiencing the world).

Through Bergson’s notion of ‘philosophising otherwise’, a different concept of time is put forward: ‘time as duration’ (Diagne 2008). Here, time is felt, intuitive, and not looked at analytically. It is like Senghor’s thought, who has expressed ‘emotion is black, reason is Hellenic’ (134). The dominant view of time is tied to space in western, scientific, ‘rational’ understanding. According to Bergson, scientific time cannot account for our inner experiences and consciousness. Our experiences are qualitative not quantitative, and devoid of numeracy.

Senghor comments on the opposition of this positivist thought as curing the nineteenth century from ‘scientific blindness’. For Bergson, time is intuitive, and we fall into the trap of using the language available that is immediate to describe it. Because time is perceived as one event separated from another event, we think we grasp time because we measure it as opposed to it being felt. To speak of time that endures, Bergson offers that we need a new language; to make it sound new, the one of poetry, for example. Intuition is defined by Bergson as ‘the sympathy by which we are transported inside an object to coincide with what it is in a unique and therefore inexpressible way’ (Diagne 2008).

This poetic understanding of a language is seen in the work of Glissant (1999), where words invent history, and language is intuitive and inventive whilst referencing the past, birthing a new way of thinking that connects across diasporas,

‘In my thoughts I rush through time and space… the rivers of China with their smooth silence that extends in archipelagos… each time engulfing tens of thousands of men, women and children in their ritual floods… the calendars of Heaven that presided over the destiny of Empire… the Chain of Ancestors of African countries’

Glissant claims that writing ‘brings us closer to understanding’, and that ‘we discover the place where we live, from which we speak, can no longer be abstracted by us from that mass of energy from afar’. Here I interpret Glissant to mean us speaking of our own temporalities, not a temporality for us to assimilate into that is given to us by the west. More directly, Glissant has also said that the poet ‘strives to create connections between themselves and the whole, permanence in the given moment… elsewhere within the here, and vice versa.

…

To write is to speak: the world.

…

To write is to summon up the world’s flavours.’

This demonstrates what Bergson was talking about in time being experienced and felt. The language that Glissant uses is explanatory of an intuitive, sensory, felt, time. Poetry can channel ideas from various schools of thought—the past is summoned, put at odds with the present and future through a ‘new’ language. Words embody, through metaphor and analogy, a different meaning from their intention: a poetic approach to reality. Glissant’s writing invokes Mignolo’s ‘option theory’ in practice: recognising the other worlds that exist, ‘other ways of knowing’, the other worlds you have not been told about.

Bergson terms ‘vital force’ as closely linked with consciousness- the intuitive perception of experience and the flow of inner time. This is similar to how Senghor uses the concept of ‘vital’ to locate equivalence between being, force and rhythm. Scientific time was devoid of interiority for Senghor, too. Therefore, being is a force, and a force is rhythm. Life is art, and time (being), is creative. Ghanian philosopher, Souleymane Bachir Diagne makes the linkage of the art object to its interior essence: an artistic form is not rationalised, or analysed— it is sympathised with and felt, to grasp its interiority, to approach it with ‘rhythmic attitude’. Diagne claims (via Senghor) that intuition was separated from intellect by the west establishing ‘analytical reason’ and an ‘ethnographic divide’ that saw ‘intuition’ un-intellectual and associated with African people, diametrically opposed to ‘analytical thought’ with the west, seen as intellectual. This sensory means of being, where time is felt, shows that art and ‘creative time’ is an option to ‘philosophise otherwise’, in imagining another state of being within time.

Philosophising Otherwise: Creative Time

Muhammad Iqbal, according to Souleymane Bachir Diagne, claims that time is creative, as it cannot be measured scientifically: linear space-time means that the future is as guaranteed as the past. Iqbal contends that scientific time deprives time of its living history and reduces it to a spatial representation. Mohomed (2017) extends this thought, that existence is not bound by serial (linear, scientific time), and if it is seen as creative through Iqbal’s view—creativity is opposed to the repetition of mechanical actions present in scientific time. Time is therefore created, and not ‘serially bound’. Similarly, Bergson shares this thought — if the portals of the futures did not remain open to reality, time would cease to be creative, and if time was teleological, it would already have a preordained purpose in the world and events would wait for their respective turn to take their ‘temporal sweep in history’. It is a view that denies creative agency and sees time as pre-determined. Scientific time cannot comprehend life (Mohomed, 2017: 11), and it is through creative work, that we connect our experiences to other beings on Earth, and Earth itself. (Anzaldúa 2013: 542).

Philosophising Otherwise: allegory as antidote and anecdote

We may look at allegory as an antidote, too, if allegory and anecdote is a sort of experience, an uprising of remembrance (Gibbs 2015: 209), as it has the power to transport us. Allegory relies on art, stories and poetry as an alternative time or entry point to envisioning a better society, using metaphor, and its ability to symbolically make one thing mean something else. Through ‘allegory’, the present moment becomes a messianic moment. Art can be a means of ‘healing’ that Benjamin was referring to, in conjunction with ‘rupture’ to break out of the linear paradigm (McLaverty-Robinson 2013).

To look at allegory as a means of transportation and symbolic representation, one can look to Iranian born (American based) artist Shirin Neshat’s (image 1) video piece Sililoquy, which, on opposite screens depict interchangeable windows into two different worlds: one, the cultural life she had left behind in Iran, with its vast fields, close sense of community, play invoked by children where a sensory and dream-like state is foregrounded. This is contrasted with the other screen, of which her ‘Iranian self’ watches her ‘American self’ assimilating into American landscape: she walks through the trade center, there are indicators of ‘modernity’, advancement, and progress everywhere, symbolised by businesspeople with suitcases pass her on their way to work indicate the flow of capital and a ‘modern’ state of being. She, however, is in traditional clothes, in some sense, still stuck in an ‘Iranian temporality’, where time moved slowly, which had to be compressed into the fast-paced American capitalist culture. It is almost as if the space-time compression is being sucked from the Iranian landscape into the American one, as they play interchangeably, and she watches on.

Image 1: Shirin Neshat

Sililoquy

Film, 16 mm, shown as video, 2 projections, colour and sound (stereo)

1999

15 min

Image source: Tate Modern

In this example, by means of allegory, time is intuitive and not rational. It also ‘overfills the present by filling it with a flash from the past’ (McLaverty-Robinson 2013). Neshat places different temporalities in conversation with each other, and the viewer is transported into an alternative space that submerges history with the present, which holds the ability to change the trajectory of the future or reimagine ways of being.

Another form of ‘allegory’ in ‘creative time’ is Nolan Oswald Dennis’ Conditions (image 2). The work in Conditions considers the other worlds that occupy the same space and time as the colonial planet does. The visual metaphors which are employed allegorically imply the occupation of other worlds in space-time within the colonial planet: it translates to several globes stacked in a line and overturned on their head, with a black globe in the middle: a void in linearity, a portal to the other worlds that exist, a different concept of time, or the messianic moment. ‘The spherical globe is the idealised figure of the planet in Western cosmology: seamless, smooth, unitary and knowable’ (Goodman Gallery press statement, 2021).

Image 2: Nolan Dennis

model for an endless column

2021

compound PET plastic globe model, synthetic stone finish, black primer and steel rod

220 x 30 x 30 cm

Image source: Goodman Gallery

In another work of Dennis’, garden for fanon (image 3), worms eat copies of Fanon’s The Wretched of the Earth to secrete it in soil, of which is converted into energy, then used to grow a plant. This is symbolic of seeing the end of the world and all systems of domination, to create new possibilities. It also foregrounds regenerative nature of knowledge production or ‘time as creation’, which is antithetical to ‘epistemicide’ and the birth of newness at the messianic moment (yet also references the erasure of data in African history). The language that Dennis employs is one of science and ‘rationalisation’, which reads as ironic in my location of time as creative and intuitive as opposed to rational. However, the strategies that is used disrupts the logic of science in some way: it is more the symbolic that is prominent through the disruption of the ‘rationality’, placing it into the realm of ‘intuitive’ and sensory, as they are not intended to read rationally but allegorically.

Image 3: Nolan Oswald Dennis

garden for fanon

2021

Bioactive system, books, borosilicate globes, community of eisenia fetida earthworms, care protocols, microcontroller, steel armature

Variable dimensions

Image source: Goodman Gallery

The ‘Black Liberation Zodiac’ (image 4) is another work of Dennis’ that uses scientific language to speak of solidarity in the south, through ‘zodiac’ symbols of liberation movements amidst a cosmos. Dennis remarks that the symbols he uses often ‘morph across time and cultures’, and that ‘there’s a whole Black liberation world- a global language and a global system’ (Dennis 2020). The use of ‘allegory’ is a means of making sense of time to re-situate past struggles or conditions in present space, almost as if art behaves as a portal, or ‘messianic moment’, by providing a different language in which we can create ways of being.

Image 4: Nolan Oswald Dennis

Excerpt: Constellations (Black Liberation Zodiac)

2017

Image source: Art in America

Philosophising Otherwise: A portal into the past, present, and future through Afrofuturism

I will now consider Afrofuturist thought which has been used as a creative means to dream of another world for those who, like Jewish people in Benjamin’s thought, were denied of envisioning a future (Dandia 2021). Epistemicide meant that Black people experienced cultural dislocation, alienation, and estrangement. Afrofuturism became a means to imagine the future free from the shackles of the colonial matrix, where Black people oversee their own narratives the future to ‘indict imperial modernity’ (Eshun 2003).

One could argue that envisioning the ‘future’ is still located in a space-time temporality. However, in Afrofuturism, this is refuted through Eshun’s (2003) claim that ‘science fiction was never concerned with the future, but rather with engineering feedback between its preferred future and its becoming present’, as colonial powers lay siege to the futures of the disenfranchised by advancing the future of the colonial matrix. The present moment is ‘stretching, slipping for some into yesterday, reaching for others into tomorrow’ (Eshun 2003: 289). Afrofuturism is about imagining an alternative future to rethink the present, an edit and ridicule on linear time to manipulate its trajectory.

Afrofuturist thought is ‘philosophising otherwise’, as it considers the future of many alternative tomorrows of which black people were denied. This exemplifies the idea of ‘creative time’. Furthermore, it completely defies the logistics of linear space-time in its makings: if we are to look at an example of Afrofuturism in allegory, in John Akomfrah’s The Last Angel of History (image 5) the ‘data thief’ is transported to various spaces-times throughout the film, searching for the key to his future, while using the ruins of history and technology. It is not trying to be an accurate representation of space, or time, but ‘intuitive’ reality, as it is felt for Black people. The filmic language takes on a jarring, fragmented and disorienting nature that seems to collage time. The actors are disembodied or alienated from the landscape in some way. The film critiques ‘linear constructions of the past, present, and future in the humanities and sciences to overturn Eurocentric motifs of identity, technology, time, space, and religion’ (Barber and Anderson 2020).

Image 5: John Akomfrah

The Last Angel of History

Film, 45min

1995

Image source: hans der Kulturen der Welt

The Last Angel of History (image 6 below) is akin to what Benjamin (McLaverty-Robinson 2013) describes as ‘The Angel of History’: based on the Angelus Novelus painting by Paul Klee, where the angel sees ‘not progress, but a growing pile of rubble’. (image 6, now unironically showing at the Israel Museum in Jerusalem). The angel is not able to put the ruins of past together because of a storm blowing from paradise, or ‘progress’. Benjamin, here, is suggesting the past as an accumulation of ruins, using allegory to do so (McLaverty-Robinson 2013).

Image 6: Paul Klee

Angelus Novus

1920

Oil transfer and watercolor on paper

31.8 x 24.2 cm

Image source: Israel Museum, Jerusalem

Afrofuturist thought is a radical intervention on space-time, as it defies all colonial logic of linearity, science, and rationality. It is speculative and imaginative, and has the ability, through ‘allegory’, to alter the present through ‘creative time’. It almost mocks empire through its sheer rebellion to conform to the principles of science, re: gravity, rationality, and space, elements also seen in Nollywood (Nigerian Hollywood, image 7 below).

Image 7: Nollywood cinema defying gravity

Uploaded by: All About Mariana

2017

1:59

Image source: YouTube

In popular (false) narratives of Africa, it exists as a ‘dark continent’, ridden with AIDS, disease, and poverty (Morrisson 2015) Afrofuturism allows for a reimagining of the future of African time by African people of how they see themselves, through the present, past and future, which, through its medium of imagination and drive for self-determination, is creatively bound (through Iqbal’s reasoning), outside of the trajectory of a linear narrative where the future isn’t already written by an invisible, abstracted, (colonial) force. Afrofuturism is but one illustration of Iqbal’s statement, ‘your ink, that is you’ (Mohomed 2017: 14).

Conclusion

The linear concept of time was constructed to ensure that the colonial matrix of power does not collapse. I have considered ‘homogenous time’ and ‘messianic time’ as a disruption to the colonial matrix disguised as ‘linear time’, or simply ‘time’, as we have come to know it. The messianic moment, through the cases provided in the political and artistic spheres, present a moment of collapse in linearity, through ‘events’ (Badiou 2007), which were seen to create a ‘rupture’, for alternate modes of time to enter. I then provided alternative means of being, through ‘philosophising otherwise’, by showing how creative, intuitive, and allegorical times are ways to envision other possible worlds, with examples from differing art forms. I lastly considered Afrofuturist thought as ‘creative time’ in imagining a different trajectory for those who were denied of envisioning a future in linear time. Even if we used the trajectory of linear time for futurity in the subaltern, it does not work as linear time was not created as a space for marginal identity to exist. Linearity is a timeline that profits off the labour of the subaltern, without any self-determination. To the colonial project, these identities are invisible, but depended on for labour. This puts the subaltern in a powerful position, as they can turn the homogenous into the messianic through rupture, to envision different worlds and to radically dream. It is in allowing these options of time to exist alongside each other, that create a constellation of other philosophies, a container for solidarity in the global south. As Glissant has said, ‘permit me to guess how my place is joined to others, how it ventures elsewhere without budging, and how it transports me in this immobile movement’. Through art, we go to work in times of crisis, to imagine the other worlds that are possible.

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IMAGES

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2. Dennis, N.O. (2021). model for an endless column. Compound PET plastic globe model, synthetic stone finish, black primer and steel rod. 220 x 30 x 30 cm. Available online < https://goodman-viewingroom.exhibit-e.art/viewing-room/nolan-oswald-dennis-conditions#tab:thumbnails;tab-1:slideshow > [Accessed 31 January 2022].

3. Dennis, N. O. (2021) garden for fanon. Bioactive system, books, borosilicate globes, community of eisenia fetida earthworms, care protocols, microcontroller, steel armature. Variable dimensions. Available online < https://goodman-viewingroom.exhibit-e.art/viewing-room/nolan-oswald-dennis-conditions#tab:thumbnails;tab-1:slideshow > [Accessed 31 January 2022].

4. Dennis, N. O. (2017) Excerpt: Constellations (Black Liberation Zodiac). Bioactive system, books, borosilicate globes, community of eisenia fetida earthworms, care protocols, microcontroller, steel armature. Variable dimensions. Publisher: Art America. Available online < https://www.artnews.com/art-in-america/interviews/nolan-oswald-dennis-monisha-holmes-black-liberation-zodiac-1202673932/ > [Accessed 31 January 2022]

5. Akomfrah, J. (1995) The Last Angel of History. Film, 45min. Available online < https://www.youtube.com/watch?v=EEbjMrl-GXc >Image: hans der Kulturen der Welt

6. Klee, P. (1920) Angelus Novus, Oil transfer and watercolor on paper. 31.8 x 24.2 cm. Online: < https://www.imj.org.il/en/collections/199799?itemNum=199799> Image: Israel Museum of Jerusalem

7. Nollywood cinema defying gravity (2017). Video, 1:59. Image still: All About Mariana. Available online <https://www.youtube.com/watch?v=R0UHzjj_Ydo> [Accessed 31 January 2022]