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.

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.

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

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:

Reflections on a “Festival for the World” and Alpha Diagne’s “Blue House” at the Southbank in London

For the past four years the Southbank Centre in London has hosted an event called “Africa Utopia.” Typically, this diverse programme of talks, marketplace activities, displays, fashion shows and other artistic happenings takes place over the course of a weekend in early autumn and is marketed as one of the Southbank’s “Festivals for the World” series.

Carol Dixon with musician, writer and graphic designer Natalie Cooper at Africa Utopia 2016

The artistic and strategic collaborations that produce this extensive cultural programme involve a number of key players – most importantly, the event’s co-founders: the Senegalese singer and human rights advocate Baaba Maal; and the Southbank Centre’s artistic director Jude Kelly CBE  – as well as a host of commercial sponsors, media partners and arts organisations contributing to the talks, performances and market place activities.

Carol Dixon with globally renowned Senegalese singer and human rights advocate Baaba Maal at Africa Utopia 2016

Central to the success of Africa Utopia is its ability to remain topical, informed and up-to-date about artistic and aesthetic innovations emerging from all regions of the continent, as well as from the communities of African diasporans settled all over the world. This is one of the reasons why hosting the event in the heart of an urban metropolis like London is always such an interesting mix of cultural and political fusion, shown through a variety of arts and crafts created by established and emerging designers, photographers, textile artists, creators of African inspired couture and contemporary art installationists.

For me, the highlight of Africa Utopia 2016 was the range of talks and debates – not only in relation to literary, visual and performing arts, but also in terms of how such cultural discourses intersect with the political, economic, environmental and technological concerns affecting people’s daily lives. This year’s panel sessions were programmed by Hannah Pool and curated with a focus on themes such as arts activism, social justice and inclusive practices within the cultural  and creative industries – especially in relation to TV, cinema and online broadcasting platforms.

Audience members  listening to the debate about activism and social change at Africa Utopia 2016

Zak Ové’s Triumph at the 1:54 Contemporary African Art Fair in London (2016)

The 1:54 Contemporary African Art Fair presented its fourth consecutive edition at Somerset House in London (6-9 October 2016) – organised by the Fair’s founding director, Moroccan-born entrepreneur and art enthusiast Touria El Glaoui.

“Blood Type” by Lizette Chirimme (from South Africa), displayed as part of Nando’s Art Collection at the 1:54 Art Fair in London. Photo: Carol Dixon

Coffee being served to visitors viewing Cameroonian artist Barthélémy Toguo’s Bandjoun Station display at the 1:54 Art Fair. Photo: Carol Dixon

Expanding in size and scale by an increase of 40% since its inaugural edition in 2013, this year’s 1:54 showcased works by more than 130 artists from continental Africa and the global African diasporas, represented by 40 of the most important gallerists, curators, agents and exhibitors promoting African-inspired artwork around the world.

My main motivation for visiting 1:54 was (primarily) to view the new art installation by British conceptual artist Zak Ové (b. 1966, London) – an innovative sculptor, photographer and installationist of Trinidadian descent, whose artworks I have admired for many years since he first came to mainstream prominence in the UK following a series of high-profile commissions via the British Museum more than a decade ago.

Zak Ove’s installation of 40 graphite sculptural figures in the courtyard at Somerset House in London, displayed as part of the 1:54 Art Fair 2016. Photo: Carol Dixon

Walking from the Strand through the archway of Somerset House on the Saturday morning of my visit filled me with sheer delight, because his vast assemblage of 40 larger-than-life-sized graphite figural sculptures – titled, “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) – was instantly visible from the main road, positioned in a military-style formation like a modern-day version of the ancient Terracotta Warriors of Xian in China. The hybrid nature of the installation was the deliberate referencing of ancient and modern cultural, political and corporeal themes encompassing the vast historical and geographical scope of the African diasporas dispersed over several continents – from the fashioning of facial features reminiscent of West African (specifically Congolese) figural sculptures, through to each (male) statue positioned with raised hands in a supplicatory, non-threatening pose as if to adopt the stance of the 21st century #Black Lives Matter and #Ferguson is Everywhere anti-racism, equality and social justice movements in the USA and world-wide, articulating the plea “Hands Up, Don’t Shoot!”

Facial details of one sculpture from Zak Ove’s installation of 40 graphite figures, displayed at Somerset House in London for the 1:54 Art Fair 2016. Photo: Carol Dixon

Black Portraiture[s] III: Reinventions – Jo’burg Conference, 17-19 November 2016

“BLACK PORTRAITURE[S] III: Reinventions: Strains of Histories and Cultures” is the seventh conference in a series of transnational and diasporic conversations about imaging the black body. It offers a forum that gives artists, activists, educators and scholars from around the world an opportunity to share ideas, from historical topics to current research on the 40^th anniversary of Soweto. Presenters will engage a range of topics such as Biennales, the Africa Perspective in the Armory Show, the global art market, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography.

image: Kudzanai Chiurai, Genesis XI, 2016

The conference takes place November 17-19, 2016 at the University of the Witwatersrand (Wits) in Johannesburg, South Africa, and was planned in collaboration with the U. S. Department of State, U.S. Ambassador to South Africa, Patrick H. Gaspard, Goodman Gallery, Hutchins Center for African & African American Research/Harvard University, New York University’s La Pietra Dialogues, Tisch School of the Arts and the Institute for African American Affairs.

When the conference was first announced, the Dean of Tisch School of the Arts, Allyson Green,  said:

“The world will be greater because of the conversations and explorations that will be held when more than 140 papers and performances are presented on topics such as the global art market, activism, politics, tourism, sexuality, sites of memory, Afrofuturism, fashion, dance, music, film, and photography.”

Allyson Green, Dean – Tisch School of the Arts,
New York University

To view the full conference schedule and see a list of participating speakers, please visit the website http://www.blackportraitures.info/schedule/.

Film footage of keynote presentations from previous conferences in this series can also be viewed online at http://www.blackportraitures.info/live-stream/.