The curatorial challenge Simon Njami set for himself when conceptualizing the exhibition “Afriques Capitales“[“Capital Africas”] was to provide a discursive, dialogical space where contemporary visual artists from continental Africa and the wider global African diaspora(s) could come together to “invent the city of all cities: a city that belongs to no one but in which everyone can find their own personal bearings” (Njami, 2017: 19).
The results of this creative, cross-cultural and pluralist dialogue manifested in the form of a large-scale, international group show of contemporary visual art presented in two episodes (or “chapters”) across expansive exhibition spaces in Paris and Lille:
The first phase (or “Chapter 1”) comprised more than 100 works by 50 artists at the Grande Halle de la Villette in Paris – sub-themed “Afriques Capitales, Métropolis: C’est beau une ville la nuit” and “Intermezzo: un projet stéréophonique, ” 23 March – 28 May 2017 (discussed in further detail, below).
The second episode (or “Chapter 2”) – titled, “Afriques Capitales: Vers le Cap de Bonne-Espérance” / “Capital Africas: From Lille to the Cape of Good Hope” – displayed work by a further 20 artists, combined with additional works by 12 of the same participants from the Paris strand of the exhibition, presented at the Gare Saint Sauveur in Lille (discussed and illustrated online at: http://www.lille3000.eu/gare-saint-sauveur/2017/), 6 April – 3 September 2017.
“Referring to Raymond Queneau’s 100,000 billion poems, Roland Barthes reminds us of that essential truth: there is never one city, but always several cities in one – a multiplicity of possible combinations.
[“Roland Barthes, en évoquant les 100 000 milliards de poèmes de Raymond Queneau, nous rappelle cette vérité essentielle: il n’y a jamais une ville, mais des villes.”]
Simon Njami, curator of the exhibition “Afriques Capitales / Capital Africas” (Grande Halle de la Villette, Paris, 2017)
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 proposal to present a research paper about the life and work of Cuban surrealist artist Wifredo Lam (1902-1982) at the forthcoming 2nd CARISCC Postgraduate Conference on Caribbean In/securities and Creativity (University of Leeds, UK, 8th March 2017) has been accepted. The presentation – titled, “Reading Issues of In/Security and Creativity through the Life and Artworks of Wifredo Lam: a Cuban ‘Passeur’ in Paris” – will form part of a broad conference programme themed around ‘Reading’ Caribbean In/securities for Creativity. Through this theme my fellow conference contributors and I will seek to examine the links between precariousness and creativity within the context of Caribbean cultural, area and diaspora studies.
When art scholar Catherine Grenier recently curated the exhibition “Multiple Modernities, 1905-1970”* for the Pompidou in Paris, she made reference to the French term “passeur” [“go-between”] to describe the activities of selected pioneering and influential modernists whose travels and artistic practices throughout the 20th century supported global artistic syncretism and dynamic cultural exchanges across a range of art forms, movements, genres and media. For Grenier, the role of the passeur was an important aspect of ‘thirding’ the Pompidou’s gallery spaces so as to displace and replace false Enlightenment era polarities of Self/Other binarism in favour of more fluid and pluralist ‘both/and also’ exhibiting practices – as advocated by cultural theorists such as Homi K. Bhabha, Gayatri Spivak and Ed Soja.
One person celebrated and valorised in this thematic display as an influential passeur of Caribbean heritage – who (in Grenier’s words) “propagated the modern spirit throughout the world” – was the Cuban surrealist artist Wifredo Lam (1902-1982).
In this conference presentation, archival documents and past exhibitions detailing the artist’s portfolio of works and his biography will be showcased as the prelude to addressing underlying questions about the extent of Wifredo Lam’s ‘borderless fluidity’ and ‘hybrid identity’ as a passeur ‘of colour’ – negotiating complex spaces and structures normalised as white within avant-garde Europe during the inter-war period. This spatio-temporal survey and mapping of his lived experiences – as an artist deeply influenced by his African, Asian and European ancestry, just as much as his connections to fellow artists in the Surrealist Movement of ‘Jazz Age’ Paris (most notably, Pablo Picasso) – will also serve as the prelude to deeper, critical reflections on the politics of in/security within the observed aesthetic characteristics and narrative interpretations of Lam’s visual poetics by contemporary art critics, scholars and wider publics.
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.
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.
Public exhibition from November 11 through November 21 at Gary Nader NY, 24 West 57th Street, New York City. This show will include works from the Nader Art Museum Latin America (NAMLA) as well as Several Prestigious Private Collections Nader Art Museum Latin America and Gary Nader NY are pleased to announce the upcoming exhibition […]