Three artists Guy-André Lagesse, Doung Jahangeer, Peter McKenzie kick a ball across the African continent, passing it from one person to person, from city to city and from one country to the next. On the road the team exchange and invent films and scenarios with « those that make it where they are » : flamboyant football supporters, street philosophers, everyday poets, eccentric artists, kings and queens…
No Time For Extra Time uses football as a metaphor to question contemporary African experience. Who’s playing the game? Is there another strategy for the game of life if the goalposts are continually moving? Who’s on or offside? Whose giving red cards and why?
What are we kicking at? A ball, a tin can, a tank, a frontier?
The overall picture is that of politics/aesthetics through the eyes of football supporters through this african journey. The installation also shows the way they confront through aesthetics and poetical perceptions linked to heritage and globalisation their engagement in life being football supporter as a means of innovation and self-realization.The installation converges the different perspectives of the 3 artists. Video projections in triptychs gives the viewer the impression of being surrounded by audio visual impulses.
The 3 very different perspective of the artists encourage multiple readings of the work. A soundscape that is simultaneous with the seven screens will allow the viewer to engage with the films and to ‘join the dots’ of particular experience to identify the whole body of work as a unifying whole or the sum of its parts. One triptych is dedicated to the artists subjective reflection of a particular country location.
Another will show the drive by effect of the journey with frequent stops to enter a particular location for closer observation, to engage with the fabric of life and landscape. The third segment shows again different perspective through individual still photographs presented on a time line to allow interaction between the images and projected texts in a way of slowing down the experience of the moving images for a closer observation.