Chapter 7

January 26 – July 14, 2019

This exhibition metaphorically addressed the entrenched power hierarchies that influence how we see and experience the world. 

Employing a broad range of artistic mediums, Brooklyn, New York, artist Kambui Olujimi transforms familiar objects into lyrical, potent symbols. He asks us to consider what might be absent or obscured as much as what is present and tangible. By playing with notions of visibility, he poetically gestures toward the secretive mechanisms of authority.

Time, an invisible yet pervasive force, served as a unifying theme throughout this exhibition. “Zulu Time” is the phonetic phrase used by the military and civil aviation to refer to “Z-time,” itself an abbreviation for Universal Coordinated Time (formerly Greenwich Mean Time), the time at the prime meridian. Situated at longitude zero degrees, the prime meridian is the arbitrary line from which all global time zones are calculated. Since Great Britain was the world’s foremost maritime power when the concept of longitude originated, its starting point is based on the location of the British Naval Observatory in Greenwich. Thus, Olujimi reframed the notion of universal time as an imposition of power—a legacy of colonialism.

Collapsing past, present, and future, Olujimi referenced time as a means to investigate covert forces that shape and influence our lives. Starting with the origins of the universe, he then led us through the failures of modernism’s utopian endeavors, called attention to current socio-political crises of mass incarceration and immigration, and ultimately asked us to consider which systems of power will impact the space of tomorrow.

This exhibition was organized by the Madison Museum of Contemporary Art. Generous Funding for the exhibitions was provided by The DeAtley Family Foundation; MillerCoors; The Terry Family Foundation; and WhiteFish Partners LLC.

Major funding for the Blanton’s presentation is provided by Suzanne McFayden.

The image shows a pair of handcuffs with decorative elements attached to them. The handcuffs are metallic and standard in design. Attached to the handcuffs is a black braided cord with gold-colored beads interspersed along its length. Hanging from the braided cord is a gold-colored circular frame with a blue gemstone in the center. Below the circular frame, there is a large, ornate pendant adorned with multiple small, colorful gemstones. The combination of the utilitarian handcuffs with the decorative elements creates an interesting juxtaposition, blending themes of security and adornment.
Kambui Olujimi, “Stowaway,” from the series “Killing Time,” 2017. Handcuffs and costume jewelry, 15 x 6 inches. Courtesy of the artist. © Kambui Olujimi.

Kambui Olujimi, Killing Time series, 2017, handcuffs and costume jewelry, Courtesy of the artist.

In this series of wall sculptures, the artist links handcuffs with ornamental strands of rhinestones and costume jewelry rather than chains. Absent physical bodies, Olujimi’s modified instruments could be mistaken for jewelry on display, commodities for purchase. Killing Time also points to another form of commodity—the commodification of human life through the economics of the criminal justice system of the United States, in which time is used to punish and control. Social critics have questioned the morality of private prisons, which profit from the punishment; publicly run prisons also engage in dubious financial practices, compelling inmates to provide free or woefully under-compensated labor to private companies. At the federal level, the Bureau of Prisons operates the “Federal Prison Industries,” a program that pays inmates roughly ninety cents an hour to produce everything from mattresses to body armor for other government agencies and which generated $500 million in sales in fiscal year 2016. As dazzling reminders of a system that enriches some through the forced imprisonment of others, the works in Killing Time suggest that our present approach to crime and punishment has effectively commodified human life.

An art installation in a gallery space consisting of a large-scale collage that covers two adjacent walls. The collage features a mix of black-and-white photographs and images of urban landscapes, buildings, and starry skies, arranged in a fragmented, overlapping manner. The dark, reflective floor adds to the installation's dynamic and somewhat chaotic visual effect. The left wall includes a block of text providing context or information about the artwork.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
An art gallery featuring various contemporary art installations. The room has white walls and a dark wooden floor. Several pieces of art are displayed, including sculptures on pedestals, wall-mounted artworks, and hanging installations. Colorful triangular flags hang from the ceiling, and a large installation on the floor appears to be made of various materials and lights. The space is well-lit with overhead lighting, and the artworks are arranged to allow viewers to walk around and observe them from different angles.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
An art gallery or exhibition space with various contemporary art installations. The room has white walls and a dark wooden floor. Several pieces of art are displayed, including: A series of triangular flags hanging from the ceiling. A wall-mounted installation with chains and spherical objects on the left wall. A circular installation on the floor with what appears to be lights or reflective materials. Two white pedestals with transparent sculptures on top. A small wall-mounted piece on the right wall. The overall atmosphere is modern and inviting, encouraging viewers to explore and appreciate the diverse artworks on display.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
An art installation in a gallery space features a blue wooden pallet supported by large black inflatable tubes. Intricate glass sculptures and lit light bulbs are placed on the pallet. The sculptures are made of clear and colored glass, with some resembling chandeliers. In the background, there is a wall-mounted installation of hanging chains and spherical objects. The gallery has a polished dark floor and white walls, with spotlights illuminating the artworks.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
The image shows an art gallery with various installations. The installations include hanging triangular flags with different designs and colors suspended from the ceiling. On the walls, there are several chain-like sculptures made of various materials, including beads and metallic elements, arranged in artistic patterns. Additionally, there are two white pedestals, each displaying a transparent sculptural piece. The gallery has a minimalist design with white walls and a dark floor, creating a clean and modern aesthetic that highlights the artwork. This setting is interesting as it showcases contemporary art in a thoughtfully curated space, emphasizing the interplay between different forms and materials.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
An artistic installation featuring a blue wooden pallet placed on top of large black inner tubes. On the pallet, there are multiple ornate chandeliers with lit bulbs of various designs and colors, including clear, black, and gold. The combination of industrial materials (pallet and inner tubes) with the elegant chandeliers creates a striking contrast, making the installation visually interesting and thought-provoking.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
A rocket tilting at a steep angle mid-launch, surrounded by clouds of orange smoke and dust against a clear blue sky.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
A rocket mid-air disintegration, with trails of smoke and flames arching across a deep blue sky, marking its breakup path.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
A clear glass sculpture resembling an abstract hourglass shape, with intricate bubbles and wave-like forms suspended inside.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.
The image shows a pair of handcuffs with decorative elements attached to them. The handcuffs are metallic and standard in design. Attached to the handcuffs is a black braided cord with gold-colored beads interspersed along its length. Hanging from the braided cord is a gold-colored circular frame with a blue gemstone in the center. Below the circular frame, there is a large, ornate pendant adorned with multiple small, colorful gemstones. The combination of the utilitarian handcuffs with the decorative elements creates an interesting juxtaposition, blending themes of security and adornment.
Installation of “Kambui Olujimi: Zulu Time” at the Blanton Museum of Art, The University of Texas at Austin, January 26–July 14, 2019.