The Life and Artworks of Wifredo Lam – a Cuban ‘Passeur’ in Paris

lam-photograph-of-the-artistMy proposal to present a research paper about the life and work of Cuban surrealist artist Wifredo Lam (1902-1982) at the forthcoming 2nd CARISCC Postgraduate Conference on Caribbean In/securities and Creativity (University of Leeds, UK, 8th March 2017) has been accepted. The presentation – titled, “Reading Issues of In/Security and Creativity through the Life and Artworks of Wifredo Lam: a Cuban ‘Passeur’ in Paris” – will form part of a broad conference programme themed around  ‘Reading’ Caribbean In/securities for Creativity. Through this theme my fellow conference contributors and I will seek to examine the links between precariousness and creativity within the context of Caribbean cultural, area and diaspora studies.

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Exhibition view of a sculpture and painting (titled “Umbral” (1950)) by Wifredo Lam, featured in a room devoted to the artist’s works from the Pompidou’s permanent collection. This assemblage was showcased as part of the display “Multiple Modernities, 1905-1970” (2013-2015). Photo: Carol Dixon.

ABSTRACT:

When art scholar Catherine Grenier recently curated the exhibition “Multiple Modernities, 1905-1970”* for the Pompidou in Paris, she made reference to the French term “passeur” [“go-between”] to describe the activities of selected pioneering and influential modernists whose travels and artistic practices throughout the 20th century supported global artistic syncretism and dynamic cultural exchanges across a range of art forms, movements, genres and media. For Grenier, the role of the passeur was an important aspect of ‘thirding’ the Pompidou’s gallery spaces so as to displace and replace false Enlightenment era polarities of Self/Other binarism in favour of more fluid and pluralist ‘both/and also’ exhibiting practices – as advocated by cultural theorists such as Homi K. Bhabha, Gayatri Spivak and Ed Soja.

Photograph of the Cuban artist Wifredo Lam
Photograph of the Cuban artist Wifredo Lam, taken in the early 1950s

One person celebrated and valorised in this thematic display as an influential passeur of Caribbean heritage – who (in Grenier’s words) “propagated the modern spirit throughout the world” – was the Cuban surrealist artist Wifredo Lam (1902-1982).

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Artists Pablo Picasso and Wifredo Lam, photographed together in 1954.

In this conference presentation, archival documents and past exhibitions detailing the artist’s portfolio of works and his biography will be showcased as the prelude to addressing underlying questions about the extent of Wifredo Lam’s ‘borderless fluidity’ and ‘hybrid identity’ as a passeur ‘of colour’ – negotiating complex spaces and structures normalised as white within avant-garde Europe during the inter-war period. This spatio-temporal survey and mapping of his lived experiences – as an artist deeply influenced by his African, Asian and European ancestry, just as much as his connections to fellow artists in the Surrealist Movement of ‘Jazz Age’ Paris (most notably, Pablo Picasso) – will also serve as the prelude to deeper, critical reflections on the politics of in/security within the observed aesthetic characteristics and narrative interpretations of Lam’s visual poetics by contemporary art critics, scholars and wider publics.

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The Wedding (1947) by Wifredo Lam. Oil paint on canvas, dimensions 216 x 200. The original artwork is part of the collection of the Nationalgalerie, Staatliche Museum, Berlin.

Continue reading The Life and Artworks of Wifredo Lam – a Cuban ‘Passeur’ in Paris

The M.A.D (“Make a Difference”) Project: Challenging ‘othering,’ injustice and intolerance through education and arts activism

On 7th December I was pleased to give a presentation about African and Diasporan artists’ ‘politically aesthetic’ interventions and activism within museums and galleries in the West. This illustrated talk was part of a panel session and Q&A that took place at Raindance in Charing Cross as the inaugural London meeting organised by the education and social justice project “Make a Difference” (aka “The M.A.D Project“).

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M.A.D (“Make a Difference”) Project panelists (from left to right): Vikram Ahluwalia; Oliver King; and Dr. Carol Dixon

As a non-profit education organisation, the artists, teachers, scholars and arts activists affiliated to M.A.D seek to develop creative learning initiatives, exhibitions and awareness-raising campaigns that challenge dominant narratives perpetuating racialalised hierarchies, ‘differentialist racism,’ stereotyping and the legacies of colonialism within present-day mainstream society. Through this work M.A.D make a significant contribution towards tackling racism(s), other forms of prejudice, intolerance and misrepresentations of cultures falsely perceived as ‘other.’

Central to the Project’s pedagogic outcomes are the ongoing collation and presentation of stories and images detailing different forms of cultural expression from various regions of the World – particularly the Middle East, continental Africa, Asia and Europe. These diverse (and often diasporic) narratives – as well as the activists’ and researchers’ accounts of their own travel experiences through which this cultural knowledge is sourced –  are widely disseminated via publications, photo exhibitions and taught programmes in classrooms,  community-based organizations, universities and other public institutions.

The over-arching theme of the inaugural London event was “Challenging dominant narratives through arts and culture.” Continue reading The M.A.D (“Make a Difference”) Project: Challenging ‘othering,’ injustice and intolerance through education and arts activism

ALBUS – an exhibition of photography by Justin Dingwall and Thando Hopa (ArtCo Gallery, Germany)

South African photographer Justin Dingwall and lawyer and model Thando Hopa have recently collaborated on a new project featuring photographic portraits that address albinism as a key theme. Both the model and the photographer have created a series of poignant images that invite audiences to reflect on – and rethink – attitudes towards beauty, skin colour, corporeality and albinism as a condition caused by a lack of melanin in the skin that can affect people from every ethnic background.

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This image – titled,”GRAZIA” (2015) by Justin Dingwall , from the ALBUS series – recently featured as part of the ArtCo Gallery presentation displayed at the 1:54 Contemporary African Art Fair in London (Somerset House, October 2016). Photo: Carol Dixon (8/10/16)

In addition to the presentation of these striking visual images, Dingwall and Hopa aim to inspire a public debate about the historical taboos that surround the subject of albinism, as well as  draw attention to the devastating levels of discrimination, threats of physical violence and actual bodily harm many people with albinism have experienced throughout history because of the superstitions that persist in some societies around the world.

Dingwall and Hopa’s series of photographs taken between 2014 and 2015 will be displayed in a new solo exhibition – titled, “ALBUS” (27 November 2016 – 13 January 2017)  at the ArtCo Gallery, Aachen, Germany.
Continue reading ALBUS – an exhibition of photography by Justin Dingwall and Thando Hopa (ArtCo Gallery, Germany)

Call for Papers: Western Museumscapes and the Political Aesthetics of Decolonisation

Carol Dixon will chair a 90-minute conference session on decolonial scholar-activism by African and Diasporan artists, curators and educators working with collections of ethnography and works of fine art in Western museums. This session forms part of the forthcoming programme for the 6th biennial network conference Afroeuropeans: Black Cultures and Identities in Europe, University of Tampere, Finland, 6 – 8 July 2017.

If you would like to propose a research paper, show a portfolio of work, or suggest an alternative multi-media presentation for consideration, please draft a 250-word abstract in response to the following overview:

Session: Western Museumscapes and the Political Aesthetics of Decolonisation: African and Diasporan Arts Activists Agitating for Change

"Anthropomorphic head" (Benin, c. 14th -16th century), displayed in the Pavillon des Sessions at The Louvre. Photo: Carol Dixon
“Anthropomorphic head” (Benin, c. 14th -16th century), displayed in the Pavillon des Sessions at The Louvre. Photo: Carol Dixon

Overview:
High-profile museums and galleries in the West – such as the British Museum in London, the Pompidou in Paris, and the MoMA in New York – are continuously revising and developing new strategic plans  to ensure that their collections, cultural programmes and exhibiting practices are engaging increasingly diverse global audiences. At the heart of these developments are complex issues about the changing nature of acquisitioning, curation, display and interpretation of artworks and cultural objects described as permanent holdings. The policies and practices implemented by these institutions serve as catalysts for generating and sustaining a rich discourse that invites artists, researchers, curators, archivists, educators, scholar activists and other creative practitioners to question their own roles and responsibilities within such dynamic museumscapes.

In this panel discussion, museologists, art historians, contemporary artists, scholars, educators and cultural  commentators from around the world will come together to discuss these issues with reference to one (or more) of the following questions:
Continue reading Call for Papers: Western Museumscapes and the Political Aesthetics of Decolonisation

NAMLA (Nader Art Museum Latin America) celebrates Wifredo Lam in New York

Public exhibition from November 11 through November 21 at Gary Nader NY, 24 West 57th Street, New York City. This show will include works from the Nader Art Museum Latin America (NAMLA) as well as Several Prestigious Private Collections Nader Art Museum Latin America and Gary Nader NY are pleased to announce the upcoming exhibition […]

via NAMLA celebrates Wifredo Lam in New York — Repeating Islands