Beatrice Wanjiku
We are Parlour Soldiers
Photo Credit courtesy of Talitha Puri Negri

The title of this exhibition is taken from the essay ‘Self-reliance’ by Ralph Waldo Emerson. This series is about love, care and service to man which is expected of us, in regard to how we treat each other. These works call for introspection; a call to return to ourselves. A call to assess the person in front of the mirror. Especially in these times. These works focus on our internalised core feelings, as we individually seek to remedy our self-imposed ethical dilemma.

The forms depicted in these artworks are uncloaked, stripped of skin. The rawness contained in this collection speaks to our most intimate selves. These paintings aim to break free from the societal expectations; which are generally restrictive.  The mood is one of focusing on ‘our inward gaze - a focused concentrated awareness of being.’ The title “We are Parlour Soldiers” is referencing this inward gaze.

Emerson’s essay calls for man to be self-reliant and not be like a 'Parlour Soldier'. He says: “unlike a self-reliant man; Parlour Soldiers “shun the rugged battle of fate, where strength is born.” On the other hand, “a self-reliant man decides for himself what is best and is not afraid of disapproval; is ready to stand alone and accept the consequences. His commitment is swayed by a desire to fit in.”  Through introspection, I call for an inward gaze, into ourselves, just like a self-reliant man who looks into his own heart to decide what is right for him. “We are Parlour Soldiers” is a call for care, a return to ourselves and not be like a 'parlour soldier' who is unfit for war, a poseur; not a true soldier. This is a call to our consciousness to be unafraid and be willing to accept the costs of standing apart.
The call for care in this exhibition, by birthing ourselves anew has been necessitated by the present-age climate of militarization, over-legislation and intolerance. The world now seemingly has only a physical and not a moral obligation. Consequently; this work heavily borrows from military and religious allegory: ‘We are Parlour Soldiers,’ ‘Cannon fodder,’ ‘Am I a dog’ and ‘Bogie dark’ are military and religious allegories.

‘Cannon fodder’ – soldiers regarded merely as material to be expended in war.
‘Am I a dog’ – a religious allegory- when Goliath asked David “am I a dog that you come to me with a stick.” These allegories expose humanity’s ugliness. The reference to military jargon references how man is now dehumanised and instead is wielded as weapon(s) either as an individuals or a group(s). - The painting of a man stripped of skin is the epitome of this dehumanisation of man as the ultimate cannon fodder.

In conclusion, I am reminded of Arthur Schopenhauer’s words on human nature that: “When you come into contact with man, no matter whom, do not attempt an objective appreciation of him according to his worth and dignity. Do not consider his bad will, or his narrow understanding and perverse ideas; as the former may lead you to hate and the latter despise him; but fix your attention only upon his sufferings, his needs, his anxieties, his pains then you will always feel your kinship with him.”

Beatrice Wanjiku - Nairobi - August 2024
 EXHIBITIONS
2024
  • The Gift, Duende Art Projects
  • Contours of Memory, Montague Contemporary, New York, USA
  • The Beauty of Impermanence, an Architecture of Adaptability, Sharjah Triennial
  • Gallery Artists '24 (Group Show), One-Off Contemporary Art Gallery, Nairobi, Kenya
  • Defining Moments (Group Show), One-off Contemporary Art Gallery, Nairobi, Kenya
2023
  • Sharjah Triennial The Beauty of Impermanence, an Architecture of Adaptability
  • Pan Amsterdam
  • Past Is Prologue II (Three Centuries of African Art)
  • Transient Beings
2022
  • Fictions, Circle Art Gallery, Nairobi, Kenya
  • EXPO Chicago, Chicago, USA
  • Unsettled, Zwartzusters Monastery, Antwerp, Belgium
2021
  • Catch a Fire, Montague Contemporary, New York, USA
  • A Wild Infection of The Wildly Shaken Public Mind, One Off Contemporary Art Gallery, Nairobi, Kenya
  • Kesho Kutwa, Nairobi National Museum, Nairobi, Kenya
  • Il Dubbio, Venice VR Expanded, La Biennale di Venezia, Cinema
2020
  • Then and Now, One Off Contemporary Art Gallery, Nairobi, Kenya
2019
  • I will see what I want to see, Circle Art Gallery, Nairobi, Kenya
2018 -
  • Feedback: Art, Africa and the 1980s, Iwalewa Haus
  • Editors/Artists Book Fair, New York, USA
  • Recent Works, One Off Contemporary Art Gallery, Nairobi, Kenya
  • Mourning a Memory Solo Show, One Off Contemporary Art Gallery, Nairobi, Kenya


2017
  • When the Heavens Meet the Earth, The Heong Gallery at Downing College, Cambridge (Sina Jina collection), UK
  • VOLTA, New York, USA
  • Personal Structures – “Open Borders” 57th VENICE BIENNALE, Palazzo Mora, Venice, Italy
  • 1-54 Contemporary Art Fair, London, UK
  • Eclectic, Redhill Gallery, Nairobi, Kenya

2016
  • 1-54 Contemporary African Art Fair, London, UK
  • YIA, Art Fair, Paris, France
  • 1-54 Contemporary Art Fair, New York, USA
  • Divine Discontent Solo Exhibition, One Off Contemporary Art Gallery, Nairobi, Kenya
  • Cape Town Art Fair, Cape Town, South Africa
  • Group Show, Sankara Hotel, Nairobi, Kenya

2015
  • 1-54 Contemporary African Art Fair, London, UK
  • Guess Who’s Coming to Dinner, Richard Taittinger Gallery, New York, USA
  • The African Tree The OSTRALE, Dresden, Germany
  • KunstRAI 2015 Edition 31, Amsterdam, The Netherlands
  • Concerning the Internal, Circle Art Agency, Nairobi, Kenya
  • Creativity Gallery, Nairobi National Museum, Nairobi, Kenya
  • Welcome Back from London, One Off Contemporary Art Gallery, Nairobi, Kenya

2014
  • BLOOOM/ART FAIR, Koelnmesse, Cologne, Germany
  • RAW ART FAIR, Rotterdam, The Netherlands
  • “Beauty and Ugliness” (Solo), One Off Contemporary Art Gallery, Nairobi, Kenya
  • “Paper”, Circle Art Agency, Nairobi, Kenya

2013
  • Devearts Meaning Africa, Weissenbruchzaal, Pulchri Studio, Hague, Netherlands.
  • “Africa Now”- African Modern & Contemporary Art and a charity auction of Kenyan Contemporary Art, 101 Bond Street, London, UK

2012
  • Funika- Fufuka/Cover - Recover, Nairobi, Kenya
  • Solo Exhibition, One Off Contemporary Art Gallery, Nairobi, Kenya

2011
  • “Africa: The Mother of Us All” Columbia City Gallery, Seattle, USA

2010
  • Solo Exhibition, Le Rustique, Nairobi, Kenya
  • “Politics of Art and the Art of Politics” Video Installation, Nairobi, Kenya

2009
  • “Artist without Borders” Triangle exhibition
  • Solo Exhibition, RaMoMA Museum of Modern Art, Nairobi, Kenya

2008
  • “Africa Now”, World Bank, Washington DC, USA
  • “How I like it”, artist initiative for the displaced
  • Contemporary Art in Kenya 2 years on, French Cultural Center, Nairobi, Kenya

2007
  • “Three some”, The Godown Art Center, Nairobi, Kenya

2006
  • “Africa Within: Many Eyes One Soul” The Royal Commonwealth Society, London, UK
  • Kuona Trust 10th International Artists Residency, Nairobi, Kenya

2004
  • “Utopia”, RaMoMA Museum of Modern Art, Nairobi, Kenya


RESIDENCIES


2018 Art OMI, New York, USA
2015 Iwalewa Haus, Bayreuth, Germany
2013 Djerassi Residency Artist Program, San Francisco, USA
2011 The Vermont Studio Center Johnson, Vermont, USA
2006 Kuona Trust, 10th International Artist Residence, Nairobi, Kenya

AWARDS


2013 The Lava Thomas and Peter Danzig Fellowship
2013 UNESCO Aschberg Bursary Djerassi Artist Program, USA
2012 Dak’Art Biennale Moving Art Africa (Goethe Institut), Senegal
2011 Robert Sterling Clark Fellowship (Vermont Studio Center), USA
2006 The Most Promising Female Artist Award 2006 (Alliance Franciase)