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“Regardless of where many of us believe we land - in that field encumbered by not too much baggage or entirely too much - we all come from the same place, which is a road rutted by experience so banal, nearly remarkable, that memory tricks us into remembrance of it again and again, as if experience alone were not enough. What are we to do with such a life, one in which we are not left alone to events - love, shopping, and so forth - but to the holocaust of feeling that memory, misremembered or not, imposes on us?” 
― Hilton Als, White Girls


A video-performance made in Makoko/Iwaya Waterfront Community, one of the largest low-income communities of Lagos, Nigeria. This community comprises of settlements on land and lagoon with diverse population of Egun, Ilaje, Ijaw and Yoruba extractions. Its economic structure revolves around the use of water predominantly for fishing, wood logging and boat making.
Armed with two megaphones with a looping spiel, as a street vendor, the artist runs the dirt roads. Dressing in white, evoking purity, embodying a saviour position, this body shouts and proclaims in Yoruba the possession of all kinds of medicinal plants for all kinds of healing. The artist walks under a soil made of layers and layers of information, history, traversing centuries of colonial past made of pain and suffering. 
The woman's body, white, Portuguese therefore privileged, shows itself in a place of exhibition and facilitation, bringing the discussion of a colonial legacy that does not obliterate racism and slavery. Through her passage, Oyinbo (Nigerian Pidgin, Igbo and Yoruba to refer to caucasians) is the world shout it at her.​

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