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?
‘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.
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.