Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otlolith Group: In The Year Of The Quiet Sun, 2014. Photos: Tim Bowditch.
Delfina Foundation, The Otolith Group: In The Year Of The Quiet Sun, 2014. Public talk. Photo: Tim Bowditch.
14 October – 8 November 2014
Delfina Foundation presented The Otolith Group’s In the Year of the Quiet Sun (2013) as part of its autumn thematic programme exploring the notion of autonomy. In the Year of the Quiet Sun is complemented by videos and films curated by The Otolith Collective – the name adopted by The Otolith Group for its public programming.
In the Year of the Quiet Sun, is a video essay takes its name from the solar phenomenon that occurs every eleven years when the sun’s surface cools enough to allow observatories to study solar activity. From November 1964 to November 1965, the countries of the world, including many newly independent African states, issued stamps to commemorate the first scientific expedition to study the surface of the sun.
To complement In the Year of the Quiet Sun, The Otolith Collective curated films and videos that dramatise the contingency of anti-colonial struggles through forms of travelogue and children’s drawing and modes of clandestinity and translation.
