Originally conceived in 1987 during Saar’s residency at the Massachusetts Institute of Technology (MIT), this installation serves as a profound exploration of the intersection between contemporary technology and ancient spiritual practices.

In Mojotech, Saar interrogates the presence of the metaphysical within the realm of modern technology by juxtaposing ritualistic objects, charms, and symbols with circuit boards and electronic components. This deliberate fusion draws aesthetic and conceptual parallels between the organic world and the constructed technological sphere. Invoking a participatory element, the work invites viewers to leave personal or technological offerings at the base of the altar, echoing the accumulative tradition of African sculpture, which integrates various “power” elements from diverse cultural practices.

Archival materials from Saar’s MIT residency will also be featured in the exhibition, including original photographs, slides, sketches, printed materials, and the initial communal offerings from the work’s inaugural installation. These artifacts serve to connect the original manifestation of Mojotech with its present iteration, offering a critical reflection on the evolving relationship between art, technology, and spirituality.

The exhibition will be accompanied by a catalogue to be published by Roberts Projects, featuring extensive materials from Saar’s residency at MIT and Mojotech’s installation history over the years.

Source: Roberts Projects