Timelines are frequently used in museum exhibitions to clearly present historical events or biographical key dates. They are arranged in a chronological order and claim to provide an objective chronology of what is considered noteworthy. This method of conveying information is always based on a choice that affirms a particular point of view while leaving visible gaps. What lies between the predetermined lines remains hidden, if not completely erased from collective perception.

In her solo exhibition The Invention Of Fire, Yana Tsegay appropriates the timeline as a structuring exhibition element. The line stretches across the room, connecting four large-scale canvases on which fire blazes from acrylic and oil sticks. The artist uses traditional painting mediums that she sometimes supplements with scraps of leather and fur. However, Timeline (2022) is made up only of recycled fur glued together. Almost uncomfortably, the still shimmering mink hair makes an appearance, giving the installation a dead liveliness.

Tsegay reaches far back into history to find the fire that was lit for the exhibition. Archaeological evidence suggests that humans started using fire around 1.5 million years ago, though some argue that it was much earlier. As long as the discovery sites are viewed within today's national borders, this scientific dispute is ultimately a matter of cultural dominance. Historiography provides interpretations of the past that assist in reinforcing social order. However, we cannot determine what the relationship of gender roles looked like in prehistoric times, any more than we can determine when, where, and who used and dominated the first fireplace. Without a doubt, the ability to make fire played a critical role in the evolution of humanity, so the development of this cultural technique is remembered as a major milestone.

Yana Tsegay's timeline deviates from its traditional function of retrospective historical construction and questions the concept of chronology. Although her connecting line moves purposefully from one image to another, overcoming architectural obstacles, the furry line appears as a spreading scar. Its spurs sprawl into the ground, where it almost fuses with crushed coal. The combustible intends to direct the audience's path, but in doing so it primarily creates another structure, one that appears to be helpful but draws a border. It is true that fire can burn down barriers and thus be used destructively. It cannot, however, be completely tamed. In a subtle way, Yana Tsegay's fire paintings convey the danger, effectiveness, and fascination that flames exude. The artist's exhibition creates a space for critical reflection on our historiography, definitional sovereignty, and the power structures that lie beneath.

Philipp Lange for The Invention of Fire
basis project space, Frankfurt 2022

Volcano / Simulation (2022) acrylic paint, oilstick on nettle

Directrix (2022) Charcoal

Abandoned Fireplace / Study (2022) acrylic paint, oilstick on nettle

Illuminated Cave / Fresco (2022) acrylic paint, oilstick, leather on nettle

Charcoal collectible (2022) Charcoal, aluminium, leather

Volcano / Simulation (2022) acrylic paint, oilstick on nettle

Yana Tsegay’s solo show takes its title from the Amber Room, built in 1701 by Andreas Schlüter for the Prussian King Frederick William I in the Berlin City Palace. This magnificent room, which carries the will for representation, donation, spoils of war and robbery, has been relocated several times and considered lost since the end of World War II. In 2003 it was faithfully reproduced in the Catherine Palace in St. Petersburg. Cultural scientists are still trying to trace the myth of the Amber Room.

Yana Tsegay’s floor work Amber Plate (2019) is composed of window frames with flyscreens painted with melted sugar and complemented by objects cast with sugar and resin. The artist’s recurrent materials, including fur, leather, pigments and ceramics, are organic and natural materials which are part of the collection of materials from art history that revolves around the formation of myths. The canvases stand on self-built pedestals and feet and by this they take on the character of objects themselves and become part of the installation. They structure and define the exhibition space, as well as a fur string stretched across the room as a barrier tape. The gestural abstraction of the paintings (Amber Panel I-IV, 2019) seems primordial. The almost archaic composition of the pictures is determined by formlessness with earthy colors and contains borrowings from prehistoric cave painting, which – with the Lascaux Caves – is considered the origin of art. ”Prehistoric” or “primitive” are terms that are used by the supposedly Western world to talk about “the other” and to demonstrate superiority.

Thus, in terms of cultural history, Yana Tsegay spans the arc from that first form of artistic expression to institutionalized and representative so-called cultural treasures such as the Amber Room, which always raise the question of cultural appropriation, expropriation, the appropriation of raw materials, and demonstrations of power. These questions are intensified in Yana Tsegay’s self-referential performances – with the aim of dissolving the privileges and hierarchies of the institutional contexts in which the artist works.

Miriam Bettin for The Amber Room at Mountains, Berlin 2019

Amber Panel III (2019) acrylic paint, oil paint, oilstick, fur on nettle, horse limb sculpture

Amber Medallion (2019) sugar (isomalt), fur

Amber Shopper (2019) sugar (isomalt), fur

Amber Panel II (2019) acrylic paint, oil paint, oilstick, fur on nettle, glass vases

Amber Panel I (2019) acrylic paint, oil paint, oilstick on nettle, keramiplast

Amber Bars (2019) sugar (isomalt), wood tar, beeswax

Untitled (geddon) (2019) acrylic paint, pigment, fur on nettle

Amber Medallion (2019) sugar (isomalt), fur

Amber Plate (2019) flyscreen on window frames, fly flap, pedestals, boxes, sugar (Isomalt), beeswax, photos, LED lightchain

Yana Tsegay creates installations that drawon paintings, sculptures or found objects and places them in historical-fictional references to cave paintings or the Amber Room. These references create links to the idea of the origin of art and fan out a spectrum of questions about institution, cultural appropriation and artist identity.

candy, which are melted into abstract sculptures, create an aesthetic that undermines the distinction between fake and real, historically true or fictional. The successful balance between inner openness and shoulder-shrugging questioning of attribu- tions leads to an art that – like amber – is sometimes clear and transparent, sometimes opaque and impenetrable.

Leon Joskowitz / KVTV for Verharzungen The Reference, Frankfurt 2020

Carrier Bag (2019) sugar, fur, wood tar

Amber Weapon II (2019) sugar, found metal, leather

Amber Weapon I (2019) sugar, bark, found metal

I perceive the cave as a speculative canvas and as an intersection of painting and cultural history where notions of primordiality are challenged. In my artistic practice, the cave is entered in a speculative manner as a place of unlearning and reinvention. My involvement with cave painting starts with Cave Paintings (2017) and continues through 2022 in the form of a research and a publication: From the Stone Age to the Present refers to Georges Bataille's writings on the rock paintings of Lascaux.

Aside from the cave, I am also interested in historical events like the invention of fire or cultural sites such as the Amber Room. They serve as starting lines for the reshaping and appropriation of history in the context of painting. Recognizing the history of painting as malleable and appropriable opens up the possibility of writing one's own history while avoiding external definition. Texts like Kodwo Eshun's Further Considerations on Afrofuturism are a key component of my discussion in this regard.

Working with museum exhibition displays and spaces is also part of my transformative practice. Here, I wonder: what cultural concept is engraved in these spaces? How can I create moments of displacement and transform settings? I want to reclaim the spaces of museums, palaces, and huts, by working as a performer or with the format of artistic intervention.

Fotos: Fenja Cambeis, MOUNTAINS, Ivan Murzin