In Kapwani Kiwanga’s Transfer V, the multiple meanings of “value”— as a cultural, political, and
economic phenomenon — intersect. This sculpture emerged from her research into the history of
commerce in Murano, specifically glass beads, which were part of her solo exhibition Trinket at
the Canada Pavilion during the 60th Venice Biennale. Also known as coterie—the Portuguese
word for “to count” — these beads were made in Venice from the 16th century and were used by
European settlers to trade with Indigenous communities. The movement of materials along trade
routes is reflected in the composition of this piece, which incorporates wood, blown glass, and
bronze. The sculpture is draped with meticulously handwoven blue beads.
With a background in anthropology that informs her research-based approach, Kiwanga explores
how materials can document human, social, and political relations. The sculpture’s interlocking
pieces call into question how we understand the exchange of seemingly small objects and their
pivotal role in shaping contemporary societies.