The Invention of Fire

Timelines are frequently used in museum exhibitions to clearly present historical events or biographical key dates. They are arranged in a chronological order and claim to provide an objective chronology of what is considered noteworthy. This method of conveying information is always based on a choice that affirms a particular point of view while leaving visible gaps. What lies between the predetermined lines remains hidden, if not completely erased from collective perception. In her solo exhibition The Invention Of Fire, Yana Tsegay appropriates the timeline as a structuring exhibition element. The line stretches across the room, connecting four large-scale canvases on which fire blazes from acrylic and oil sticks. The artist uses traditional painting mediums that she sometimes supplements with scraps of leather and fur. However, Timeline (2022) is made up only of recycled fur glued together. Almost uncomfortably, the still shimmering mink hair makes an appearance, giving the installation a dead liveliness. Tsegay reaches far back into history to find the fire that was lit for the exhibition. Archaeological evidence suggests that humans started using fire around 1.5 million years ago, though some argue that it was much earlier. As long as the discovery sites are viewed within today's national borders, this scientific dispute is ultimately a matter of cultural dominance. Historiography provides interpretations of the past that assist in reinforcing social order. However, we cannot determine what the relationship of gender roles looked like in prehistoric times, any more than we can determine when, where, and who used and dominated the first fireplace. Without a doubt, the ability to make fire played a critical role in the evolution of humanity, so the development of this cultural technique is remembered as a major milestone. Yana Tsegay's timeline deviates from its traditional function of retrospective historical construction and questions the concept of chronology. Although her connecting line moves purposefully from one image to another, overcoming architectural obstacles, the furry line appears as a spreading scar. Its spurs sprawl into the ground, where it almost fuses with crushed coal. The combustible intends to direct the audience's path, but in doing so it primarily creates another structure, one that appears to be helpful but draws a border. It is true that fire can burn down barriers and thus be used destructively. It cannot, however, be completely tamed. In a subtle way, Yana Tsegay's fire paintings convey the danger, effectiveness, and fascination that flames exude. The artist's exhibition creates a space for critical reflection on our historiography, definitional sovereignty, and the power structures that lie beneath. Philipp Lange