Link only available on sub pages

Today, ornamentation serves to highlight cultural identities. This is often linked to the hope that ornaments, on the one hand, characterize a particular cultural sphere and, on the other hand, can build bridges to other eras and cultures.
Mariella Mosler creates exquisitely handcrafted ornaments from real hair that allude to traditional devotional jewelry, yet can also be interpreted as symbols of our time. Nevin Aladağ, a German-Turkish artist, and Azra Akšamija, who was born in Sarajevo and teaches at MIT in Boston, use ornaments and patterns to demonstrate just how multifaceted cultural identity can be.
Samuel Fosso, born in Cameroon portrays himself in the role of a fictional African leader. The colourful fabrics, typical ‘Dutch wax prints’, are a symbol of African identity, yet at the same time they draw on Western clichés. And they allude to colonial history, from the invention of the batik technique in Indonesia through to design and production in the Netherlands, right up to the West African fabric market. Mário Macilau uses patterns in a manner typical of West African studio photography. The colourfully printed pieces of fabric (capulana), used as wrap dresses or baby slings, are fundamental to Mozambican culture.