Nolan Oswald Dennis: Exploring Black Consciousness of Space
Nolan Oswald Dennis, a Lusaka-born and Johannesburg-based artist, brings a unique perspective to the art world with his first United States exhibition. His work delves into the concept of a “black consciousness of space” and explores the tension between a racialized, propertied world and heterogenous Black and Indigenous imaginaries. Through powerful objects that both conceal and reveal inner logics and contradictions, Dennis invites viewers to grapple with complex questions about identity, history, and the interconnectedness of different worlds.
One of the standout pieces in the exhibition is “Articulated globe (pair)” (2024), where two spheres touch in a gesture of camaraderie or care. One sphere is a conventional world globe turned upside down, while the other is a black version covered with a cowry shell veil. This juxtaposition symbolizes the joining of worlds and highlights the artist’s exploration of pre- and postcolonial realities existing side by side, rather than one evolving into the other.
While Dennis draws on philosophical influences like Sylvia Wynter, who challenges the overrepresentation of Man in our worldview, object-making remains central to his practice. Pieces like “Isivivane” (2023–ongoing), where a 3D printer recreates rock fragments from around the world, raise questions about restitution and the superficiality of our understanding of history. By reproducing fragments and relics, Dennis prompts viewers to look beyond the surface and delve deeper into the complexities of our shared past.
In “further notes 4 a planet (nine-dash)” (2024), necklaces of letter beads connect panels of words, creating a visual switchboard that challenges viewers to rethink their understanding of reality. While the work may appear interactive, the delicate nature of the necklaces prevents viewers from physically engaging with it. This tension between invitation and restriction mirrors the artist’s larger exploration of creating new spaces that demand adherence to certain rules for access.
“Approximations (1)” (2021) features sentences like “discovery is code word for forgetting,” prompting viewers to reflect on the rituals of learning and unlearning that shape our understanding of the world. By overturning established norms and questioning what we think we know, Dennis invites us to embrace uncertainty and openness to new perspectives.
Nolan Oswald Dennis: overturns is on display at the Swiss Institute in Manhattan until April 13, offering viewers a thought-provoking exploration of identity, history, and the interconnectedness of different worlds. Curated by KJ Abudu, the exhibition challenges us to rethink our preconceptions and embrace the complexities of a “black consciousness of space.”
