Dimensions: unconfirmed: 915 x 1315 mm
Copyright: © Guy Tillim | CC-BY-NC-ND 4.0 DEED, Photo: Tate
Editor: Guy Tillim's photograph, "Apartment building, Beira, Mozambique," presents a stark urban scene. The architecture, while imposing, appears weathered, almost ghostlike. What cultural narratives are embedded in this image? Curator: The building's facade is a palimpsest. Notice the brutalist elements, a style often associated with post-colonial aspirations of modernity and progress, now weathered by time and circumstance. What does this juxtaposition suggest about the evolution of Beira, about Mozambique’s collective memory? Editor: So, the building's condition reflects broader historical shifts? Curator: Precisely. The decay speaks of interrupted narratives, perhaps unrealized dreams. The satellite dishes clinging to the sides present a contrasting image of global interconnectedness amidst local realities. Can a building embody both hope and disillusionment? Editor: I see it now, a powerful tension between ambition and actuality. Thank you. Curator: Indeed. Photography, in this instance, captures layers of history etched onto a single structure, inviting us to contemplate the passage of time and its impact on the urban landscape and its inhabitants.
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http://www.tate.org.uk/art/artworks/tillim-apartment-building-beira-mozambique-p79827
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Patrice Lumumba was the first elected Prime Minister of the Republic of the Congo following its independence from Belgium in June 1960. His government was deposed in a coup, and he was assassinated in January 1961. Taken in various African states, Tillim’s photographs of modernist structures, now in a state of decay, can be seen as reflection on the legacy of the idealistic nationalism associated with Lumumba. Two images show apartment buildings in Beira, Mozambique. The buildings are worn and grimy and, whilst clearly still in use, belong to another moment in time charged with promise and possibility. The central image shows the Grande Hotel in Beira, Mozambique, where the ambitions of the architects and builders are still evident despite the dilapidation. Gallery label, June 2011