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.
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.
On 6th July 2017 more than 200 delegates from 20 countries gathered in the city of Tampere, Finland, to participate in the 6th Biennial ‘Afroeuropeans’ Network Conference on Black Cultures and Identities in Europe – convened and hosted by the Academy of Finland Research Fellow Dr Anna Rastas (Faculty of Social Sciences, University of Tampere), working in partnership with a team of scholars, artists and administrators from Aalto University, Sibelius Academy, the University of Tampere and the University of Helsinki.
The conference took place over three days, specifically scheduled to also coincide with Tampere’s hosting of the FEST AFRIKA 2017 cultural programme of live music, poetry and spoken word performances by solo musicians, dancers, bands, dub poets and other literary and performing arts practitioners from continental Africa and the African and Caribbean diasporas in Europe.
Keynote Address by Professor Paul Gilroy
The conference’s opening keynote address was given by the internationally renowned social scientist, literature scholar and cultural theorist Professor Paul Gilroy (American and English Literature, King’s College, University of London), who gave a wide-ranging presentation about race and racism, inequalities, border politics, the dynamics and impacts of securitisation, and associated activism to stem the problematic rise of ‘securitocracy’ throughout Europe – titled, “On the necessity and the impossibility of being a black European [a 2017 re-mix] or the value of anti-racism in the ‘Alt-right’ era.“
BBC Radio 4’s ‘Black Art Matters’ (first broadcast on 29 June 2017) is available to listen to online via the BBC website http://www.bbc.co.uk. This 30-minute programme features Professor Sonia Boyce MBE (RA) in conversation with family members and friends of the British contemporary visual artist Donald Rodney (1961-1998) – one of the most central and important founding figures involved in the Midlands-based ‘Blk Art Group’ during the 1980s, who sadly passed away two decades ago (due to the illness Sickle Cell).
Boyce begins her reflective voice-over with a review of Donald Rodney’s visceral and racially charged installation piece “The House that Jack Built” (1987). Her perceptive commentary is layered and interspersed with other art-historical observations taken from interviews with several contributing artists and guests who attended the exhibition launch reception for “The Place is Here” (Nottingham Contemporary, 4 February – 30 April 2017).
Rodney’s complex, hard-hitting and unsettling mixed-media installation features a set of x-rays of the artist’s body arranged against the gallery wall to form the silhouetted structure of a house, overlaid with white-painted text and pictorial imagery commenting on the traumas and enduring legacies of enslavement, racial segregation, the brutalities of apartheid and other forms of racialized, anti-black violence throughout world history. Prominently positioned on a chair in front of the “house” is a seated figure, with a large tree-like structure sprouting from the neck of a paint-splattered striped shirt to create the slumped frame of a man’s body. Continue reading BLACK ART MATTERS: Reflecting on the life, works and art-political legacy of Donald Rodney, 1961-1998