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Kunstenares Weny Morris heeft Zuid-Afrikaanse roots. Op het moment dat de tentoonstelling "Salvation project" doorging verbleef ze in België. Morris dacht na over haar afkomst ... en haar geloof, en vertelt het verhaal van haar voorouders die het evangelie gingen preken in Zuid-Afrika. Wendy is niet-gelovig ... maar de geschiedenis van haar voorouders maakt dat ze terug wil keren naar Zuid-Afrika ... en na wil denken over haar toekomst: geloven ... of niet is de vraag.

Morris, Wendy --- C3 --- film --- beeldende kunst --- KADOC - Documentatie- en Onderzoekscentrum voor Religie, Cultuur en Samenleving (1977-) --- Kunst en cultuur --- Exhibitions --- Art

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Composed in December 2022, the tape letter by Wendy Morris is written from the perspective of a Wandering Womb and addressed to the wild wort Savin. In response to recent developments in which we saw Roe v Wade overturned, and a near total abortion ban put in place in Poland, the letter is a call to resume a relationship with a plant which once provided us with a means to control fertility. Savin was the abortifacient of choice amongst (European) women. The transmission of that knowledge has since been eroded and the tape letter wishes to sing it back into circulation.

Morris, Wendy,

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Fieldguides for a Preternaturalist is a series of small chapbooks designed to bring collaborators, audiences, and readers together within the project Nothing of Importance Occurred: Recuperating a Herball for a 17th Century Enslaved Angolan Midwife at the Cape. Initiated by South African artist Wendy Morris, Nothing of Importance Occurred is an artistic project recuperating missing narratives at the Cape through speculative investigations of plants-as-archive and storytelling as method. It has as its focus the retrieving of a library of botanical-medicinal knowledge that might have informed Morris’s enslaved ancestor, Maaij Claesje of Angola, midwife in the Company Slave Lodge in Cape Town. The investigation follows streams of contraceptive plant knowledge that flowed to the Cape through the bodies of enslaved women from Angola, Moçambique, and Madagascar, and from India, Indonesia, and Sri Lanka, as well as through the bodies of women emigrating from the Netherlands, and Huguenots fleeing France. The investigation traces practices already existent at the Cape in the healing ecologies of Khoi, Nama, and San women. Because upwards of four million Angolans were trafficked to the Americas, the project follows recorded practices among women there too. This project of recuperation leads towards a polyvocal Herball of contraceptive plants, the collaborative Fildguides, and a part-fictionalized Return from Cape Town to the interior of Angola.

Art --- art [discipline] --- botany --- slavery --- herbalists --- midwives --- Morris, Wendy --- South Africa