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.
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 […]
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).
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…
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’.
Yinka Shonibare’s Jardin d’amour [Garden of Love] (2007) was the second – and most high-profile thus far – of the single-artist installations staged during the Quai Branly museum’s early programming history. The artwork consisted of a labyrinthine, reconstructed 18th century Rococo-styled ornamental French garden arranged as three secluded enclosures in which different thematic tableaux were staged.
Each of the main display areas were separated by shrub-covered trellis, tightly bound reed-screen fences, privets, climbing plants and artificial rose bushes that served as foliage-covered boundary walls around the entire exhibition. The three interiors comprised groups of Shonibare’s signature life-sized headless mannequins, dressed in Dutch-waxed, patterned cotton textiles, and with beige tinted limbs, perhaps so as to make the ethnic origin of the characters they represented ambiguous and indeterminable: neither African, Asian, European, Australasian nor American in origin, but perhaps instead an intentionally hybrid representation of all humankind. From the titles given to each tableau – « La poursuite » (‘The Pursuit’), « l’amant couronné » (‘The Crowned Lover’) , and « les lettres d’amour » (‘Love Letters’) – the installation echoed and evoked the settings featured in three 18th century oil paintings by the French artist Jean Honoré Fragonard, collectively titled Les Progrès de l’amour [The Progress of Love], and painted between 1771 and 1773 (Müller, 2007b: para. 9).