Review of the 2018 edition of the 1:54 Contemporary African Art Fair in London

The sixth London edition of the 1:54 Contemporary African Art Fair took place at Somerset House, 4-7 October 2018. Curated by its founding director Touria El Glaoui the event featured 43 international galleries showcasing the work of 130 established and emerging contemporary artists from continental Africa and the global African diaspora.

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Exhibition view of sculptural works by Gonçalo Mabunda (b. 1975, Mozambique) and paintings by Ajarb Bernard Ategwa (b. 1988, Cameroon) displayed in Jack Bell Gallery’s presentation at the 1:54 Contemporary African Art Fair in London. Photo: Carol Dixon.

In keeping with previous editions at this venue a major new sculptural work was displayed in the courtyard to serve as a focal point for the fair. This year’s Fountain Court commission was given to the internationally renowned Sudanese modernist Ibrahim El-Salahi, who created three, large-scale versions of an oak sculpture titled “Meditation Tree” (2018). The majestic and beautifully sculpted wooden pieces were inspired by the artist’s memories of a particular type of Acacia tree, known as the Haraz, that is unique to Sudan and found along the banks of the River Nile.

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‘Meditation Tree’ (2018) by Ibrahim El-Salahi – one of three oak sculptures displayed in the fountain courtyard at Somerset House as part of the 1:54 London art commission, 4-7 October 2018. Photo: Carol Dixon.

Inside Somerset House one of the highlights of the expansive exposition was a series of sculptural installations, collages, tapestries, films and photographic works by South African artist Athi-Patra Ruga, titled “Of Gods, Rainbows and Omissions.”  Displayed in three rooms throughout the Terrace Gallery near the main entrance Ruga’s artworks were curated to illustrate and comment upon a range of social and political issues concerned with challenging injustices and inequalities through his use of highly ornate and colourful allegorical compositions visualising how people express diverse and complex identities.

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Detail from the series ‘Queens in Exile’ (2015-17), by Athi-Patra Ruga (b. 1984, South Africa), displayed in the exhibition ‘Of Gods, Rainbows and Omissions’ at Somerset House, London (4 October 2018 – 6 January 2019).

Self-defined as a queer Xhosa man Athi-Patra Ruga’s oeuvre serves as a powerful visual narrative documenting the lived experiences and corporealities of people whose opportunities to freely express their sense of self have been challenged and curtailed as a result of discrimination, acts of violence, social exclusion and other forms of oppression operating within local communities, nation states and wider global structures. A particular focus of Ruga’s presentation at Somerset House was to celebrate identities and bodies that have traditionally been constructed as ‘Other’/’non-human’ and positioned outside what is considered to be mainstream  – especially in relation to ethnicity, gender, nationality, sexuality and social class. Continue reading “Review of the 2018 edition of the 1:54 Contemporary African Art Fair in London”

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‘History Wipes’ – Adel Abidin’s solo retrospective at the Ateneum, Helsinki

‘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.

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Ateneum Art Museum, Kaivokatu 2, Helsinki. Photo: Carol Dixon.

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.

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White neon light installation ‘We Came to Kill Your Father’ (2018) by Adel Abidin, displayed above the main staircase at the Ateneum Art Museum, Helsinki. Photo: Carol Dixon

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?

Continue reading “‘History Wipes’ – Adel Abidin’s solo retrospective at the Ateneum, Helsinki”

Engaging Abstraction and Portraiture at the National Gallery of Jamaica

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Entrance to the National Gallery of Jamaica, 12 Ocean Boulevard, Kingston. Photo: Carol Dixon

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.

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Interior view of the National Gallery of Jamaica. Photo: Carol Dixon.

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.

 

 

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.

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The Lawd is My Shepherd (1969), by Osmond Watson. Oil on canvas. 104 x 87.3cm. Photo: Carol Dixon
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Mother and Child (1958), by Barrington Watson. Oil on canvas. Photo: Carol Dixon

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”

Exhibition Review – ‘Kehinde Wiley: In Search of the Miraculous’

‘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).

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Detail from ‘Ships on a Stormy Sea (Jean Julio Placide)’ (2017), by Kehinde Wiley. Oil on canvas. 175.5x 241.5 cm. Photo: Carol Dixon.

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.

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Detail from ‘The Fog Warning (Jasmine Gracout)’ (2017), by Kehinde Wiley. Oil on canvas. 272.3 x 394 cm. Photo: Carol Dixon.

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.

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Exhibition view of four paintings from ‘In Search of the Miraculous’ by Kehinde Wiley. Stephen Friedman Gallery, London, 29/11/2017. Photo: Carol Dixon.

Continue reading “Exhibition Review – ‘Kehinde Wiley: In Search of the Miraculous’”

Review of the 2017 edition of the 1:54 Contemporary African Art Fair in London

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A sculptural installation and photographic print from the series “The Purple Shall Govern” (2013) and the more recent performance installation “Wielding the Collision of Past, Present and Future” (2017), by South African artist Mary Sibande. Photo: Carol Dixon.

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.

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“Wielding the Collision of Past, Present and Future” (2017) – detail from a digital print illustrating a performance installation by South African conceptual artist Mary Sibande (b. 1982, Barberton, SA). Photo: Carol Dixon.

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.

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Summer Surprise (2017) by Pascale Marthine Tayou, displayed in the Edmond J. Safra Fountain Court at Somerset House as a commissioned installation for the 1:54 Contemporary African Art Fair in London. Photo: Carol Dixon.

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.

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Portrait of London grime artist and MC, Olushola Ajose (aka Afrikan Boy) , by Hassan Hajjaj, presented as part of the three-room installation “La Caravane” (2017) at Somerset House. Photo: Carol Dixon.

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”