Onyeka Igwe lives and works in London. Her work has been presented in solo exhibitions and screenings including at The High Line, New York; LUX, London; Mercer Union, Toronto; and Jerwood Arts, London. Her video works have been screened at institutions and festivals including KW Institute for Contemporary Art, Berlin; London Film Festival; Rotterdam International Film Festival; CC Matienzo, Buenos Aires; Smithsonian African American Film Festival; ICA, London; and Edinburgh Artist Moving Image. She has been featured in major international presentations including the Dhaka Art Summit and Berlin Biennale. She was recently nominated for the 2022 Jarman Award; the MaxMara Artist Prize for Women 22-24; and awarded the 2020 Arts Foundation Futures Award for Experimental Short Film and the 2019 Berwick New Cinema Award.
The Miracle on George Green (2022), a so-called archive (2020), No Archive Can Restore You (2020), the names have changed, including my own and truths have been altered (2019), No Dance, No Palaver (2017-2018), Corrections (2018) with Aliya Pabani, Sung (2018), We Need New Names (2015)
A combined programme featuring Huw Lemmey and Onyeka Igwe’s lyrical reflection on intimacy and surveillance through the development of British espionage, and Manuel Muñoz Rivas’ transporting voyage across an expanse of water, half-light and darkness.
Films by Steve Reinke, Onyeka Igwe, Rajee Samarasinghe and Ja’Tovia Gary
From Harlem to Giverny, patrilineal tales to Artaud, nature will give way to febrile artifice. What dizzying force is this—throwing us between opposites: deafening silence vs. slide-projector clicks; glitch-y celluloid vs. HD; projected futures pressed up against the archive? But there’s calm around the corner—a reprieve from the chaos of subjection. “Can I live?”, one voice enquires, rhetorically. Consider how the subtext to our fervid biopolitical project.
Q&A with filmmakers Steve Reinke and Onyeka Igwe
