During a recent trip to Jamaica I was pleased to visit the National Gallery, located on Ocean Boulevard in downtown Kingston close to the city’s scenic Waterfront. Although the National Gallery was first established by a special committee of the Jamaican government in the early 1970s, with an embryonic collection of 230 works placed on public display at Devon House in 1974, the artworks were eventually relocated to the current site within Kingston Mall (in a building that was formerly a commercial bank) during the 1990s, occupying more than 2700 square metres of exhibition space.
Displayed over two floors, the Gallery’s upper level features paintings and sculptures from the permanent collections – including artworks from the Edna Manley Memorial Collection, and holdings of paintings, sculptures, archaeological artefacts and ephemera covering the history of the island dating back to the time of the Taino before 1000 AD/CE.
Negro Aroused (1935), by Edna Manley. Wood (Mahogany). Height 63.5cm. Photo: Carol Dixon
Tacet (1937), by Ronald Moody. Photo: Carol Dixon
My particular highlights from the permanent collections included: figural sculptures from the 1930s by Ronald Moody and Edna Manley; a single-figure portrait in oils of a woman at prayer, titled “The Lawd is My Shepherd” (1969) by Osmond Watson; a very poignant and spiritually charged mourning scene “Nine Night” (1949) by David Pottinger; and a beautifully rendered, gentle and amusing oil painting of a “Mother and Child” (1958) by Barrington Watson.
At the time of my visit on 17 January 2018 the two temporary exhibitions displayed throughout the ground floor galleries were: “Explorations V: Portraits in Dialogue” – featuring 40 artworks that traced the history of portraiture in Jamaica from the 18th century through to the present day, specifically curated to examine and pose challenging questions about intersected issues of race, class, and gender reflected in the works in focus; and “Engaging Abstraction”– comprising 41 modern and contemporary paintings, sculptures, collages, digital installations and mixed media assemblages, primarily dating from the 1960s through to the 2010s. Continue reading Engaging Abstraction and Portraiture at the National Gallery of Jamaica
‘In Search of the Miraculous’ is the second exhibition by Kehinde Wiley to be shown at Stephen Friedman Gallery in London (24 November 2017 – 27 January 2018).
Displayed in three rooms, this series of nine new paintings and a three-channel artist’s film illustrate moments in the lives of young Haitian fishermen presented against a backdrop of tropical coastal settings and tempestuous seascapes.
The press release for the exhibition states that Wiley’s motivation for creating these works was to address a number of themes relating to “migration, madness and isolation in contemporary America.” However, although these foci were symbolically evident throughout the exhibition, the overarching significations foregrounded by Wiley in this body of work were more broadly related to black masculinities, issues of ontology and sense of self for men throughout the African diaspora – not a project centred solely on symbolising the impacts of populist politics for African-Americans in the USA today.
The 2017 edition of the 1:54 Contemporary African Art Fair took place at Somerset House in London, between Thursday 5th and Sunday 8th October. Now in its fifth year, the event featured contributions by more than 130 artists from continental Africa and the global African diasporas, presented alongside a programme of stimulating talks and panel discussions led by arts scholars, curators, gallerists and cultural commentators drawn from around the world.
Building on the successes of previous editions of 1:54, shown in London, New York and Morocco since 2013, this edition provided access to a broad range of new works by established artists and emerging new talent from 17 nations – including notable contributions from the celebrated painter and collagist Godfried Donkor from Ghana; textile artist and mixed media installationist Safaa Erruas from Morocco; metalwork sculptor and anti-war activist Gonçalo Mabunda from Mozambique; and the internationally renowned textile sculptor Abdoulaye Konaté from Mali, most well-known for creating breath-taking, large-scale ‘offrandes’ out of delicate fragments of fabric stitched together to create multicoloured fine art tapestries.
In a similar way to the impression Zak Ove’s commissioned installation piece “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) created a visually arresting centre-piece for the courtyard at Somerset House last year, the major architectural installation shown in the Fountain Court was “Summer Surprise” (2017) by Pascale Marthine Tayou from Cameroon. This vast, wooden-framed structure is described by the artist as referencing and symbolising the function of a”Toguna” – a traditional public building native to Mali, built for the purpose of discussing community and constitutional issues, and usually located at the heart of village life to enable it to serve as a key meeting point for debate and intellectual exchange.
An important feature of this year’s fair was the interactive installation created by Morocco-born, UK-based artist Hassan Hajjaj, displayed in three rooms adjacent to the terrace on the ground floor at Somerset House. Titled “La Caravane” (2017), this work featured a series of large, full-colour photographic portraits and also a sequence of videos presented as interactive portraits along the length of the central gallery, showing musicians, dancers, singers and poets dressed in colourful outfits and performing extracts of their work in studio settings framed by customised textiles and soft furnishings. This central gallery was also designed as an auditorium, where visitors could sit and listen to the performances as though they were sitting in a Moroccan tea room being entertained by live artists. Continue reading Review of the 2017 edition of the 1:54 Contemporary African Art Fair in London
The 2017 Serpentine Pavilion – designed by Diébédo Francis Kéré from Burkina Faso, and displayed in Kensington Gardens, London (23 June – 8 October) – represents an architectural structure designed with community gatherings and convivial interactions in mind. Kéré’s harmoniously cylindrical, indigo-blue, textured structure, with its lattice-like wood and metal-framed roof fanning out to form a funnel-shaped sloping canopy, evokes the atmosphere of a central communal meeting place, with multiple openings overhead for letting in natural light to illuminate the interior while also providing shelter from the rain.
This beautiful artwork, inspired by the broad canopies and buttresses of tropical baobabs, signifies a pluralist space where diverse conversations and opportunities to exchange ideas are welcomed. The pavilion’s design, therefore, serves as an appropriate image through which to introduce and illustrate the overarching theme for this year’s Royal Geographical Society annual international conference – “Decolonising Geographical Knowledges.” This complex and wide-ranging theme, which also served as a call to action, was addressed over the course of a stimulating, four-day event programme of lectures, panel sessions and workshops attracting more than 1000 delegates from around the world.
Given that these geographical discussions were taking place in Kensington less than a two-minute walk from the Serpentine Pavilion signifies that, similarly to the architect’s desire to create a contemporary equivalent of a central community meeting space where all are welcomed to converge and consider the key issues of the day, the RGS-IBG was symbolically also opening up (and opening out) the institution to invite in a greater diversity of publics (and broader critical perspectives) than had hitherto been seen as integral to geography as a subject discipline, where scholarship pursued by privileged white men from elite schools within the Euro-American academy still dominates most of the academic geographical discourse.
The 2017 Chair of the Conference, Sarah Radcliffe (Professor of Latin American Geography, University of Cambridge) was responsible for catalysing debates related to the theme of decolonisation. Her address drew attention to the various ways geography within academia has begun to provide a platform for considering how institutions established during the colonial era can be transformed into more inclusive and ‘decolonial’ spaces, fully divested of the structural inequalities and power hierarchies that previously allowed elitism, exclusions and discrimination on the grounds of race, gender, religion, nationality, educational background, disability, LGBTQ+ identities to persist and endure long after the end of formal colonial rule. Continue reading Decolonising and diversifying institutions: creating inclusive spaces where difference is respected
During mid-August 2017 I was very pleased to visit the Gare Saint Sauveur in Lille to view curator Simon Njami’s thought-provoking exhibition of photographs, paintings, films, sculptures and architectural installations by 30 contemporary visual artists from continental Africa and the African diasporas. This spectacular and wide-ranging group show – Afriques Capitales: Vers le Cap de Bonne-Espérance [Capital Africas: Towards the Cape of Good Hope] (Gare Saint Sauveur, Lille, France, 6th April – 3rd September, 2017) – was conceptualised and presented as the second chapter (or, ‘Episode Two’) of a curatorial project that began at the Grande Halle de la Villette in east Paris, and was later transposed and repurposed to fit this alternative setting of a disused freight goods railway terminal on the outskirts of Lille.
At its heart, Afriques Capitales presented a series of inter-connected art-political, historical and geographical narratives about the push and pull of migration, the precariousness of trans-national journey-making, and people’s hopes, fears, aspirations and challenges as they strive to secure a better existence and improved life chances for themselves and their loved ones as a result of moving to different locations – and, potentially also, alternative environments assumed to provide increased safety, security, sanctuary and/or new opportunities.
Since first becoming aware of Simon Njami’s writing and critical analysis of modern and contemporary African art, his editorship of the celebrated art magazine Revue Noire, and his extensive international curatorial practice over the past two decades, I have subsequently followed his progress with keen interest – making regular visits to different exhibition spaces and institutional settings to immerse myself in the stories and assemblages he and his contributing artists generate to provoke new discussions and dialogues about aspects of the universal human condition. All these observations and experiences are, of course, considered and refracted through the complex prism (or ‘optic‘) of colonialism, and its enduring legacies in the present day – reflected upon at the site of the individual (as regards my personal, affective/emotional responses to each artwork); at the level of the nation-state; as a trans-continental conversation between Europe as the site of display, and Africa (including its diasporas) as the creative locus and originating point of departure for these featured exhibits; and also in terms of global discourses about travelling and journey-making to the many elsewheres represented in the featured displays – both near and far; real and imagined.
As soon as I walked through the entrance gates at Gare Saint Sauveur and saw the large-scale architectural structure of Egyptian artist Moataz Nasr’s installation, “I am Free” (2012), I knew I was entering a creative space where the curator had encouraged all the participating visual artists to be bold and expressive on a monumental scale: in other words, giving all the artists and collectives complete licence to think creatively without limits and, in turn, exhort and inspire visiting audiences walking through the exhibition space to respond in kind. In consequence, I required no prompting to run to the top of the temporary staircase erected at both ends of the white-walled, Minaret-like construction to stand on its central platform with my arms outstretched, enacting the declarative statement “I’m Free!” In doing so, I was also able to imagine that I had become one with the vast, black painted bird’s wings, beautifully and fluidly drawn at either side of the neon lighting, and taken flight into a different realm.