The 7th Biennial Network Conference “Afroeuropeans: Black In/Visibilities Contested” will be held in Portugal at the University Institute of Lisbon (ISCTE-IUL), 4-6 July 2019. The conference is an important platform for the production of knowledge in the pertinent field of transdisciplinary research on racism, black cultures and identities in Europe. It also offers the opportunity to strengthen and widen networks between scholars, activists and artists that question structural racism and are critically engaged with the production of postcolonial knowledge on european blackness and the african diaspora. This dialogue and networking is promoted through keynotes and panels, round-tables, individual speakers and artistic and cultural activities.
The title of the conference incorporates the tensions, ambiguities and paradoxes of Blackness in Europe. At the same time as black histories, cultures and social conditions are made invisible in hegemonic accounts on Europe, there is a hypervisibility and presence of black stereotyping in European popular culture. Also, while the concept of race has largely disappeared from political, sociological and administrative discourses (in continental Europe), and while the disengagement with institutional and structural racism has been reframed in new capitalist post racial rhetorics, racial markers still have currency, and black bodies continue to be invoked as either tolerated guests at best, or threatening intruders at worst. The consequence is the practice of “embodying an identity that is declared impossible even though lived by millions”, namely as non-white Europeans, and specifically as Black Europeans. This identity has become even more conditioned by a new mainstreaming of right-wing discourses and the tightening immigrant and refugee policies that affect people of African descent. Continue reading Afroeuropeans: Black In/Visibilities Contested – 7th Network Conference, Lisbon, Portugal, 4-6 July 2019
A new site-specific installation‘5000 Miles and 70 Years’by the internationally renowned photographer Vanley Burke was launched at Midlands Arts Centre (MAC) in Birmingham on Friday 4 May 2018. The installation featured a collage of archival materials and photographs from the artist’s extensive portfolio of images relating to the lived experiences of African and Caribbean diaspora communities in Britain since the mid-20th century.
Displayed across the length of the Terrace Gallery on the venue’s ground floor, and also as a full-colour frieze exhibited across several 1st floor window panes, the installation offered poignant insights into the lives of Vanley Burke’s family and friends, as well as wider African-Caribbean diaspora communities settled in the West Midlands and other regions of the UK over several decades.
The artwork ‘5000 Miles and 70 Years’ was specifically commissioned to commemorate the 70th anniversary of the arrival of the Empire Windrush passenger ship at Tilbury Docks in Essex on 22nd June 1948 carrying on board c.500 migrants from islands and nations in the Caribbean region – many of whom were former servicemen and women who had served in the British armed forces and auxiliary services throughout the Second World War. The arrival of the Windrush has subsequently become a symbolic event in the social, economic and cultural history of Britain and the Commonwealth and, as such, the arrival date signifies the beginning of what is now referred to as the era of the ‘Windrush Generation.’ However, as Vanley’s installation illustrates, the imagery and documentation featured in the collage communicates a longer-standing, further-reaching and more complex history of Britain’s relationship with the Caribbean region and its people that encompasses the era of transatlantic enslavement, centuries of colonial exploitation, global trade links and the legacies of British imperialism in the West Indies. Interspersed with the family photographs, street scenes, images of domestic interiors and documentation about working class life from the past seven decades are also extracts from political posters, anti-racism campaign leaflets, news cuttings and photographs of protest marches and demonstrations that articulate the ongoing struggles of diasporans from the Caribbean to achieve their rights, equalities and freedoms as British citizens – not only for themselves, but also for subsequent generations of descendants born in the UK.
Photographer Vanley Burke was born in Jamaica in 1951 and migrated to Britain as a teenager in 1965. Since that time he has become one of the most important documentarians of black British history – using his skills as a photographer, as well as his passion for archiving, to produce and preserve a powerful, emotionally charged and thought-provoking visual narrative about the post-war lived experiences of black Britons. It is for these reasons that many art historians, sociologists and cultural studies scholars rightfully refer to Vanley Burke as “the foremost chronicler of Birmingham’s black history” and “custodian of the history and the cultural memory of Black Birmingham” (see, for example, the book ‘Black Artists in British Art: A History Since the 1950s’ by Eddie Chambers (IB Tauris, 2014)).
‘History Wipes’ was the title of the first solo retrospective by contemporary visual artist Adel Abidin (b. 1973, Baghdad, Iraq), displayed at the Ateneum Art Museum, Helsinki, during March and April 2018.
The exhibition featured a series of video installations, multi-media artworks and sculptural pieces presented in five galleries on the 2nd and 3rd floors, as well as two text-based light installations displayed above the museum’s main staircase and its covered courtyard. Collectively, the works communicated a very powerful sequence of messages and provocations concerning the fragility of human existence – with a particular focus on how individuals and communities memorialize difficult and traumatic life experiences.
A recurring theme throughout the exhibition was Abidin’s questioning of the veracity of archival documentation – not only in terms of what was recorded and by whom, but also the extent to which archives often represented a deliberate erasure, manipulation and omission of certain histories that some would prefer to be suppressed, hushed up and wiped from the collective memory of a nation.
Writing about the unreliability of historical records – specifically with regard to the fragility and malleable nature of one’s own memories, and also the imperfections and subjectivities of institutional archives – Abidin remarked:
Our memories are malleable and reset stronger, more vividly and less accurately each time we revisit them. This process is known as reconsolidation, and it explains why our memories can change slightly over time. Therefore, it seems we must rely on written history.
However, a corollary that necessarily follows from this observation is to question how confident anyone can feel about receiving an accurate account of past events. For Abidin, he chose to pose the following questions, the strengths of which became increasingly more intensely felt as one progressed through the exhibition:
How can we be sure we know the whole story about past events? How can a writer, an artist or any type of researcher rely on historical data?… What if we wiped out certain parts of history because they made people feel uncomfortable? What if we wiped out history simply to have a fresh start? What if we forgot all the wars we caused, all the people we’ve killed? What if we forgot our beliefs?
It was a pleasure to visit the James Hockey and Foyer Galleries at the University for the Creative Arts, Farnham, to view a solo exhibition of new paintings by the Jamaican-British contemporary figurative artist Eugene Palmer.
Curated by Richard Hylton, the exhibition “Eugene Palmer: Didn’t it Rain: New Paintings” (27 January – 24 March 2018) was divided into the following three series, and also featured a short documentary film showing the artist at work in his studio discussing the development of his portfolio:
(1) “In Between Black and White” was displayed at the main entrance to the gallery and comprised ten close-up portraits of a young black woman. Each one showed different variations in skin tone, either painted in shades of grey, or in full colour. This process of producing nearly identical, repeated portraits, displayed as multiples, is one of the artist’s signature techniques. Collectively, the images encouraged viewers to contemplate issues of race, constructions of identity, the politics of beauty considered in relation to ethnicity and skin tone, and importantly also the complexities of ‘colourism’ – particularly as regards the problematic history of European artists creating stereotyped representations of black women within Western portraiture over many centuries.
(2) “Baby Shower,” shown in the foyer area of the University’s library, comprised 12 sketches painted in oil on paper, each representing attendees at a real-life gathering of family and friends to celebrate the forthcoming arrival of a new baby girl.
(3) “Didn’t it Rain”was displayed in the main gallery and showcased ten, larger than life-sized portraits of black women dressed in smart, monochrome skirt suits with matching hats. These works were arranged in pairs, with each figure painted against a neutral background of either light blue, green, yellow, pink, grey or white.
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