The Life and Artworks of Wifredo Lam – a Cuban ‘Passeur’ in Paris

lam-photograph-of-the-artistMy 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.

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Exhibition view of a sculpture and painting (titled “Umbral” (1950)) by Wifredo Lam, featured in a room devoted to the artist’s works from the Pompidou’s permanent collection. This assemblage was showcased as part of the display “Multiple Modernities, 1905-1970” (2013-2015). Photo: Carol Dixon.

ABSTRACT:

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.

Photograph of the Cuban artist Wifredo Lam
Photograph of the Cuban artist Wifredo Lam, taken in the early 1950s

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).

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Artists Pablo Picasso and Wifredo Lam, photographed together in 1954.

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.

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The Wedding (1947) by Wifredo Lam. Oil paint on canvas, dimensions 216 x 200. The original artwork is part of the collection of the Nationalgalerie, Staatliche Museum, Berlin.

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NAMLA (Nader Art Museum Latin America) celebrates Wifredo Lam in New York

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 […]

via NAMLA celebrates Wifredo Lam in New York — Repeating Islands

Reflections on a “Festival for the World” and Alpha Diagne’s “Blue House” at the Southbank in London

For the past four years the Southbank Centre in London has hosted an event called “Africa Utopia.” Typically, this diverse programme of talks, marketplace activities, displays, fashion shows and other artistic happenings takes place over the course of a weekend in early autumn and is marketed as one of the Southbank’s “Festivals for the World” series.

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Carol Dixon with musician, writer and graphic designer Natalie Cooper at Africa Utopia 2016

The artistic and strategic collaborations that produce this extensive cultural programme involve a number of key players – most importantly, the event’s co-founders: the Senegalese singer and human rights advocate Baaba Maal; and the Southbank Centre’s artistic director Jude Kelly CBE  – as well as a host of commercial sponsors, media partners and arts organisations contributing to the talks, performances and market place activities.

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Carol Dixon with globally renowned Senegalese singer and human rights advocate Baaba Maal at Africa Utopia 2016

Central to the success of Africa Utopia is its ability to remain topical, informed and up-to-date about artistic and aesthetic innovations emerging from all regions of the continent, as well as from the communities of African diasporans settled all over the world. This is one of the reasons why hosting the event in the heart of an urban metropolis like London is always such an interesting mix of cultural and political fusion, shown through a variety of arts and crafts created by established and emerging designers, photographers, textile artists, creators of African inspired couture and contemporary art installationists.

For me, the highlight of Africa Utopia 2016 was the range of talks and debates – not only in relation to literary, visual and performing arts, but also in terms of how such cultural discourses intersect with the political, economic, environmental and technological concerns affecting people’s daily lives. This year’s panel sessions were programmed by Hannah Pool and curated with a focus on themes such as arts activism, social justice and inclusive practices within the cultural  and creative industries – especially in relation to TV, cinema and online broadcasting platforms.

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Audience members  listening to the debate about activism and social change at Africa Utopia 2016

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“Collectif CONTRE-Exhibit B”: The campaign against Brett Bailey’s ‘Human Zoo’ installation gains pace in Paris…

Carol Dixon at the Place du Trocadéro, overlooking the Eiffel Tower - 15 November 2015
Carol Dixon at the Place du Trocadéro, overlooking the Eiffel Tower – 15 November 2015

How timely to be currently on a research trip in Paris just as the campaign against the presentation of Brett Bailey’s ‘Exhibit B’ (Human Zoo) installation is taking shape and gaining momentum in the French capital.

Over the past few days I have been inspired by the passion and commitment of the Parisian campaign organisers “Collectif CONTRE-Exhibit B” – a recently established collective of writers, artists and political activists who are working tirelessly to spread the word about the problematic content of Brett Bailey’s live performance project so that prospective audiences will not attend… and also to alert the wider public in France about the inappropriate, inaccurate,  insensitive and offensive content in this (so called) theatre arts piece (NB: Please see my earlier blog posts for a description about the content of ‘Exhibit B’ here).

A photograph showing one of the controversial tableau vivant (live performance scenes) in South African artist Brett Bailey's installation - 'Exhibit B: Third World Bunfight'. Source:  The Mail Online - http://www.dailymail.co.uk/
A photograph showing one of the controversial tableau vivant (live performance scenes) in South African artist Brett Bailey’s installation – ‘Exhibit B: Third World Bunfight’. Source: The Mail Online – http://www.dailymail.co.uk/
The internationally renowned Guadeloupean-born French novelist Maryse Condé has added her powerful voice to the campaign against 'Exhibit B' in Paris. Image source: http://www.africansuccess.org/
The internationally renowned Guadeloupean-born French novelist Maryse Condé has added her powerful voice to the campaign against ‘Exhibit B’ in Paris. Image source: http://www.africansuccess.org/

Many high-profile academics, cultural commentators, writers and performance artists – including the celebrated French-language novelist (of Guadeloupean heritage) Maryse Condé, the political scientist Professor Françoise Vergès, and the French songwriter and recording artist Bams – have added their names and voices to the ‘anti-Exhibit B’ campaign, and are helping to communicate a strong and unified perspective about how dangerous it is for an ill-informed theatre director like Brett Bailey to pursue a project dealing with the physical violence, psychological traumas and painful legacies of past 19th century colonial racisms by falsely depicting African people as silent and passive participants in this historical narrative.
Continue reading “Collectif CONTRE-Exhibit B”: The campaign against Brett Bailey’s ‘Human Zoo’ installation gains pace in Paris…

Reflections on the legacies of ‘Statues Also Die’ (Présence Africaine, 1953) re. the museums sector in France today

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Earlier this year an article by Tom Devriendt was posted to the online discussion forum Africa is a Country’ to commemorate the life and work of French filmmaker Alain Resnais (1922-2014), who passed away on 1st March  (Devriendt, 2014). The central focus of this piece was to celebrate the achievements of Resnais and his co-director Chris Marker (1921-2012) in creating a ground-breaking film from the early 1950s about  African art and French racism, Statues Also Die [Les statues meurent aussi] (Resnais and Marker, 1953) – commissioned and produced by the Parisian-based publishing house Présence Africaine. What is interesting about the film is the way it features a complex mixture of commentary on French museum practices from the 1950s, the history of French colonialism in Africa, and the public’s changing attitudes in the mid-20th century towards African art – referred to throughout the documentary as ‘black art’.

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Continue reading Reflections on the legacies of ‘Statues Also Die’ (Présence Africaine, 1953) re. the museums sector in France today