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In a rare father-and-son collaboration, Toumani Diabaté, genius of African music and widely recognised as the greatest living kora player, has recorded an album of duets with his son Sidiki, the instrument’s emerging star. Described as "the finest Toumani collaboration since his classic work with Ali Farka Touré" (The Guardian) ‘Toumani & Sidiki’ is a dialogue conducted through the kora, the 21-string West African harp which the Diabaté dynasty has elevated into the most iconic of African instruments. Father-and-son collaborations are rare enough but the ties binding Toumani and Sidiki Diabaté are particularly profound and evocative. Descended from a line of griots – custodians of the ancient oral traditions of West Africa’s Mandé people stretching back seven hundred years – the names Toumani and Sidiki are significant names in the annals of African music. Toumani’s father, Sidiki senior, recorded the first ever kora album, the classic Mali: Ancient Strings, in 1970, unwrapping the instruments potential as a virtuosic lead instrument. His son Toumani has taken it further, weaving together bass lines, ancient melodies and astonishing improvisations to create a kaleidoscope of musical colours. Since recording the first solo kora album in 1988, he has brought the instrument to the world, with albums, tours, GRAMMY awards and collaborations with the likes of Ali Farka Touré, Taj Mahal, Herbie Hancock, Damon Albarn and Bjork. Toumani has also built an impressive array of fans along the way, including President Barack Obama, who chose Toumani’s collaboration with Taj Mahal as his all-time favourite album.

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Her new project for the New Museum takes the form of an ongoing action with live performers and one holographic performer. The project approaches the concept of presence in an expanded sense, focusing in particular on its increasing dispersion. In Pirici’s ongoing action—conceived especially for the New Museum’s South Galleries—presence is revealed in a variety of ways: as physical body as well as artificial stand-in, avatar, and ghost, taking on the character of a memorial or monument; as image and abstraction of the living subject into quantifiable, monetizable data; and as the expanded life of "dead" objects in museum collections—using the presence of live performers to challenge their stable state and static interpretation. This new work continues Pirici’s recent interrogations into the collective body through choreographies that link different temporal and spatial events in real time. In the work, performers embody amalgamated parts, intersecting with each other yet separately manipulable. Pirici’s project attempts to enact the dispersion of presence and to comment on contemporary processes of abstraction that separate sign from substance and image from material support. Proposing a distributed occupation of space and time, the work functions as one monstrous, modular organism made of living and digital matter. The exhibition is curated by Helga Christoffersen, Assistant Curator, and will be on view in the New Museum’s recently inaugurated South Galleries, a space designated for premiering new productions at the Museum. The South Galleries preserve the character of the building’s loft spaces, where many artists historically worked and exhibited. Alexandra Pirici was born in 1982 in Bucharest, Romania, where she lives and works. Her work has recently been presented at n.b.k, Berlin (2017); Skulptur Projekte Münster (2017); the Berlin Biennial (2016); Tate Modern, London, and Tate Liverpool (2016); OFF-Biennale Budapest (2015); the Museum of Modern Art, Warsaw (2015); Manifesta 10, St. Petersburg (2014); Centre Pompidou, Paris (2014); and Van Abbemuseum, Eindhoven (2014). In collaboration with artist Manuel Pelmu?, she represented Romania at the 55th Venice Biennale (2013). In 2015, she received the Excellence Award of the National Dance Center, Bucharest.

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