Sandra Mujinga (b. 1989 in Goma, Democratic Republic of Congo) lives and works in Oslo. Her multidisciplinary practice spans installation, sculpture, photography, performance, video, and music. The central themes in her work revolve around the visibility of Black bodies in public space as well as the way in which opacity and ambiguity harbor the possibility of agency and self-protection.
Stella Rollig, Director General of Belvedere: Sandra Mujinga negotiates questions of visibility, identity, and technologically determined power relations with impressive artistic precision. Her work touches on central debates of our time—from the politics of representation to digital recording. Skin to Skin opens up a space at Belvedere 21 where new forms of communal coexistence become imaginable.
Curator Axel Köhne: Sandra Mujinga’s installation invites us to think about bodies differently: not as clearly defined individual beings, but as collective, fluid, and resistant presences. Visitors move through a field of doppelgängers, reflections, and sounds, becoming part of a speculative environment that opens up new perspectives on perception, identity, and community.
ABOUT THE EXHIBITION
At the center of Skin to Skin is a group of 55 identical larger-than-life figures. Swathed in heavy fabrics, they seem like creatures from another time—at once archaic and futuristic. Mirrored elements in the space multiply their presence, while a specially composed electronic soundtrack acoustically supplements the sculptural staging. Sandra Mujinga’s installation occupies the exhibition space of Belvedere 21 and invites visitors to immerse themselves in these different visual and auditory levels.
From avatars to clones and ghostly apparitions to unknown species, Mujinga’s hybrid figures invite a variety of associations. The artist develops speculative worlds where spatial and temporal layers overlap. In her newly produced work, she takes up themes from science fiction, Afrofuturism, and posthumanism, which she combines with reflections on animal survival strategies, such as camouflage and nocturnal activity, as well as an interest in bodies and identity. Repetition and camouflage function in the exhibition as means of self-empowerment and protection against external control and the imposition of stereotypes.
Inspired by Naomi Klein’s concept of the doppelgänger in her eponymous book, Skin to Skin refers to the possibility of evading explicit legibility through multiplication. The installation thus deals with hypervisibility and surveillance—especially with regard to Black bodies—in physical and digital space. Exposed to viewers’ gazes from the museum’s first floor above, the faceless beings and the connection between them open up a new perspective on collective existence and mutability.
Sandra Mujinga counters the logic of neoliberal individualization with her artistic approach to recent and future concepts for social coexistence. Her figures, for example, can be seen as a community, a group, a family, or another form of coexistence. Skin to Skin invites visitors to engage in an in-depth examination of perception, visibility, and social transformation, opening up a space for experience that invites them to linger and imagine.
