Afriques Capitales/Capital Africas: A Barthesian multiplicity of cities presented at La Villette in Paris

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An exterior view of the venue for Episode 1 of “Afriques Capitales/Capital Africas,” exhibited at the Grande Halle de la Villette in Paris, 23 March – 28 May 2017. Photo: Carol Dixon.

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).

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“The Minaret” (2012) by Egyptian artist and arts activist Moataz Nasr. This illuminated sculptural installation was displayed on the ground floor of the Grande Halle de la Villette as part of the exhibition “Afriques Capitales” (2017). Photo: Carol Dixon.

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:

  1. 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).
  2. 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.
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Detail from the vivid red wall hanging “Alep” (2016) by Malian textile sculptor and painter Abdoulaye Konaté, displayed at La Villette as part of the exhibition “Afriques Capitales” (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)

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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

“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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