The 1:54 Contemporary African Art Fair presented its fourth consecutive edition at Somerset House in London (6-9 October 2016) – organised by the Fair’s founding director, Moroccan-born entrepreneur and art enthusiast Touria El Glaoui.
Expanding in size and scale by an increase of 40% since its inaugural edition in 2013, this year’s 1:54 showcased works by more than 130 artists from continental Africa and the global African diasporas, represented by 40 of the most important gallerists, curators, agents and exhibitors promoting African-inspired artwork around the world.
My main motivation for visiting 1:54 was (primarily) to view the new art installation by British conceptual artist Zak Ové (b. 1966, London) – an innovative sculptor, photographer and installationist of Trinidadian descent, whose artworks I have admired for many years since he first came to mainstream prominence in the UK following a series of high-profile commissions via the British Museum more than a decade ago.
Walking from the Strand through the archway of Somerset House on the Saturday morning of my visit filled me with sheer delight, because his vast assemblage of 40 larger-than-life-sized graphite figural sculptures – titled, “Black and Blue: The Invisible Man and the Masque of Blackness” (2016) – was instantly visible from the main road, positioned in a military-style formation like a modern-day version of the ancient Terracotta Warriors of Xian in China. The hybrid nature of the installation was the deliberate referencing of ancient and modern cultural, political and corporeal themes encompassing the vast historical and geographical scope of the African diasporas dispersed over several continents – from the fashioning of facial features reminiscent of West African (specifically Congolese) figural sculptures, through to each (male) statue positioned with raised hands in a supplicatory, non-threatening pose as if to adopt the stance of the 21st century #Black Lives Matter and #Ferguson is Everywhere anti-racism, equality and social justice movements in the USA and world-wide, articulating the plea “Hands Up, Don’t Shoot!”
I was fortunate to visit the William Morris Gallery in Walthamstow (east London) this weekend to view a beautiful art installation by British ceramicist Claire Twomey before this temporary exhibition closed to the general public on 18 September 2016.
The one-room installation –“Claire Twomey: Time Present and Time Past“ (William Morris Gallery, 18 June – 18 September 2016) – was initially inspired by William Morris’s working drawing Chrysanthemum (1877) and took the form of a series of 150 ceramic tiles, each measuring 30 x 30 cm, placed on a large table covering the entire ground floor temporary exhibition gallery next to the museum’s café/restaurant
The enlargement and transformation of Morris’s 19th century floral design into a vast 21st century ceramic installation by Claire Twomey was a visual reflection of a poignant statement about temporality and the importance of tangible, inter-generational acts of cultural remembrance that William Morris wrote more than 120 years ago:
“The past is not dead, but is living in us, and will be alive in the future which we are now helping to make.” William Morris (1893) – quotation taken from the preface to “Medieval Love,” by Bartholomew Anglicus
Rather than painting all the individual tiles independently, the ingenuity of Claire Twomey’s artistic intervention was to make the new installation an entirely collaborative process – from the commissioning of digital technicians and expert tile makers from Stoke-on-Trent in the Potteries to assist with the initial digital transfer techniques onto blank white tiles, right through to extending an open invitation to local artists to volunteer as “apprentices” to help paint each individual tile periodically throughout the duration of the exhibition (over c.100 days) using a combination of regular enamel paints with muted colour tones of sage green, ochre, rusts and greys, and also over-layering thin coats of 22-carat gold enamel paint to create a subtly intricate floral mosaic with a spectacular, shimmering surface lustre. Continue reading Walthamstow, Women and William Morris: Claire Twomey’s “Living Installation” in East London
The angular and multi-layered, architectural installation “Tsumeb Fragments”(2015) by Nigerian contemporary artist Otobong Nkanga is on display at Modern Art Oxford as part of the exhibition “KALEIDOSCOPE: It’s Me to the World” (20 August – 17 November 2016).
Like many works from Nkanga’s portfolio, Tsumeb Fragments addresses the themes of landscape, memory and the legacies of colonialism throughout continental Africa, utilising a diverse array of mixed-media and materials: from metal frames, paper and natural minerals, through to photographic stills and film footage.
THE HISTORICAL AND GEOGRAPHICAL CONTEXT TO “TSUMEB FRAGMENTS”
In spring 2015, Otobong Nkanga travelled to Tsumeb in Namibia to an area called The Green Hill – a site known for its precious minerals, natural crystals and copper reserves. However, throughout the late-19th and 20th centuries, when Namibia was colonised by the Germans, the entire area was exploited for these natural resources and over-mined until the landscape was almost totally depleted, left in ruins and transformed into an open-pit. At the time when Nkanga took images of Tsumeb in 2015 the site was no longer a green hill. However, some slight traces of green remained in the tiny, scattered fragments of malachite and azurite minerals – the only remains of the past to evidence the area’s former environmental beauty and wealth. The artist’s inkjet-printed images on Galala limestone in this multi-level installation, therefore, symbolise an act of remembrance, and also a ‘re-imag(in)ing’ of times and places in the past – the palimpsest of memory.
“Senses of Time” is a series of films and video-based contemporary artworks by six artists from the global African diasporas. In each case the contributors invite their audiences to consider the various tensions, contradictions and ambiguities that can exist between personal and political time, ritual and technological time, and corporeal and mechanical temporalities.
The following six film and video-based installations feature as part of a new touring exhibition, organised by the Los Angeles County Museum of Art (LACMA) and the Smithsonian National Museum of African Art, Washington DC:
Sammy Baloji‘s project “Mémoire” [“Memory”] examines the themes of memory and forgetting and is set within the socio-political context of postcolonial de-industrialisation. For much of the film, a dancer (the renowned Congolese dancer-choreographer Faustin Linyekula) can be seen dancing amongst ruins. Baloji states that the 5-minute film is meant to symbolise:
“…the story of politicians and the working classes…of those in power and the work of those who are governed. It is also the story of a body that moves among the ruins of what was once the heart of the DR Congo.”
– Sammy Baloji (cited by Milbourne et. al. 2015: 78)
Theo Eshetu‘s film features a kaleidoscopic art installation that examines the convergence of space and time in relation to the past, present and future.
Moataz Nasr’s work “The Water” focuses on identities distorted by the march of time.
Berni Searle‘s artistic ccontribution features ancestral family portraits being blown about in the wind as a way of representing the “slippages and fragility of time” aligned with issues of identity.
The film “Un Ballo in Maschera” by Yinka Shonibare MBE (RA) features a lavish and ornately decorative ballroom scene with masked dancers dressed in the signature ‘Dutch-wax’ patterned fabrics that have become a major feature of his conceptual and performance-based art installations over several decades.
Sue Williamson‘s artwork – a 36-minute video projection, titled “There’s Something I Must Tell You ” – considers inter-generational dialogues.
As I stood in front of Jelena Bulajic’s large-scale portrait of Alise Lange (2013) mesmerised by the network of fine wrinkles covering her face, my momentary thoughts merged with memories of another contemporary artwork that came back to mind in sharp focus – the image of Lubaina Himid’s topological art map, Thin Black Line(s) (2011).
In Bulajic’s work, her mixed-media artistic cartography of facial lines signified one elderly woman’s life history over several decades, and also served to illustrate the wider curatorial context to the London-based international group show of works by 14 women artists within which it was being shown – Champagne Life(Saatchi Gallery, London, 13 January – 9 March 2016). Although very different in its composition, Lubaina Himid’s artwork also mapped out women’s lives. However, rather than creating a close-up image of one woman to symbolise the complexities of our universal human condition, she chose instead to map diverse cultural and socio-political connections between several black British female artists from the UK’s African and Asian diasporas as a network diagram similar in appearance to Harry Beck’s topological map of the London Underground.