‘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
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.
Reflections from Stuart Hall about the history and significance of the British ‘Black Art’ movement during the 1980s:
“This new ‘horizon’ produced a polemical and politicised art: a highly graphic, iconographic art of line and montage, cut-out and collage, image and slogan: the ‘message’ often appearing too pressing, too immediate, too literal, to brook formal delay and, instead, breaking into ‘writing.’ The black body – stretched, threatened, distorted, degraded, imprisoned, beaten and resisting – became an iconic recurring motif”
Stuart Hall (2006) “Black Diaspora Artists in Britain,’ History Workshop Journal (HWJ), Vol. 61(1), p. 17 (cited by Eddie Chambers in Roots and Culture, 2017, p. 201)
I was very pleased to view the exhibition “The Place is Here” (Nottingham Contemporary, 4 February – 30 April 2017) during its closing weeks, and spend time engaging with a diverse range of ‘politically aesthetic’ works by artists and collectives prominent in the British Black Art movement of the 1980s.
Curated by Nick Aikens and Sam Thorne, in collaboration with Nicola Guy and a number of consultant artists who were central to the period in focus, the exhibition provided a rare opportunity to see c. 100 artworks covering a range of genres, media and artistic practices by 30 of the most celebrated artists from the UK’s African, Caribbean and South Asian diaspora communities assembled together in one space.
Taking as its intellectual departure point the discussions held during the inaugural gathering of the First National Black Art Convention in Wolverhampton (1982), and a second “working convention” held in Nottingham in 1984, the curators and contributing artists presented an art-historical and art-political ‘montage’ of works that exemplified how contemporary visual artists, academics, arts activists, cultural commentators, and other critical thinkers were responding to questions about the role of “Black Art” – or the “Black Art Movement” (as it later came to be known) – in the late-20th century. In particular, this question was being posed as a way of catalysing and bringing to prominence a powerful, highly visible reaction to the many challenging social, political, economic and cultural issues facing ‘people of colour’ in Britain at that time.
What was immediately clear from the inclusion of a significant selection of archival materials, political posters, documentary films, campaign literature, and other publications representing the work of grassroots anti-racist and social justice organisations active during that decade, was that the British Black Art movement – like the individual artists themselves – did not ever function solely within the (physical or imagined) borders of the United Kingdom as a nation-state. On the contrary, this movement was always conceived by participants active in these struggles as operating within a much broader, more porous, international and diasporic framework of global(ised) activisms, equalities agendas and human rights campaigns. The wider foci for demonstrating solidarity with other Black activists as part of a transnational struggle included: the Civil Rights movement, trades-union activism in the Caribbean region, the collective fight against apartheid in South Africa, the emergence of radical Black feminist/womanist movements worldwide, LGBTQ rights activism, and ongoing efforts to collectivize against and ‘dismantle’ the many remaining structures and systems of colonial oppression dating back to the period of Western European nations’ occidental expansionism and exploitation of the recently independent nations located throughout the Global South(s).
My recent visit to view the expansive art collections at Brooklyn Museum, located in the Prospect Park area of New York City, provided an interesting opportunity to peruse and critique a series of complex and engaging artistic and curatorial juxtapositions. On every level of this five storey building the vast collections of exhibits and their interpretation narratives were assembled to encourage dialogues between historical artefacts and contemporary artworks, established and experimental museographic techniques, and also conventional versus innovative perspectives on curation, all coupled together within close proximity throughout the display spaces.
The African Collections on Level 1
Nowhere were these artistic and curatorial binaries more starkly evidenced than in the furthest corner of the Level 1 galleries where two, black walled rooms presented the Museum’s permanent holdings of African art objects as the temporary installation “Double Take: African Innovations.”
Whilst it was wonderful browsing these two, tightly filled galleries, packed almost to bursting point with a diverse array of artworks sourced from several African nations, the thematic nature of curator Kevin Dumouchelle’s presentation – contrasting historical sculptural pieces with a range of more recent, multi-media contemporary art exhibits – was actually rendered quite problematic by the Museum’s decision to retain the old-fashioned convention of showcasing African collections within dimly lit, darkly painted interior settings, designed to communicate (wittingly, or unwittingly) the tired 19th century tropes about Africa being perceived in the West as a culturally mysterious ‘Dark Continent’ (see, for example, Hutcheon 1995: 11-13 and Elliott 2007: 32). Continue reading Curatorial traditions and experimental innovations at the Brooklyn Museum, New York