During a recent trip to Jamaica I was pleased to visit the National Gallery, located on Ocean Boulevard in downtown Kingston close to the city’s scenic Waterfront. Although the National Gallery was first established by a special committee of the Jamaican government in the early 1970s, with an embryonic collection of 230 works placed on public display at Devon House in 1974, the artworks were eventually relocated to the current site within Kingston Mall (in a building that was formerly a commercial bank) during the 1990s, occupying more than 2700 square metres of exhibition space.
Displayed over two floors, the Gallery’s upper level features paintings and sculptures from the permanent collections – including artworks from the Edna Manley Memorial Collection, and holdings of paintings, sculptures, archaeological artefacts and ephemera covering the history of the island dating back to the time of the Taino before 1000 AD/CE.
Negro Aroused (1935), by Edna Manley. Wood (Mahogany). Height 63.5cm. Photo: Carol Dixon
Tacet (1937), by Ronald Moody. Photo: Carol Dixon
My particular highlights from the permanent collections included: figural sculptures from the 1930s by Ronald Moody and Edna Manley; a single-figure portrait in oils of a woman at prayer, titled “The Lawd is My Shepherd” (1969) by Osmond Watson; a very poignant and spiritually charged mourning scene “Nine Night” (1949) by David Pottinger; and a beautifully rendered, gentle and amusing oil painting of a “Mother and Child” (1958) by Barrington Watson.
At the time of my visit on 17 January 2018 the two temporary exhibitions displayed throughout the ground floor galleries were: “Explorations V: Portraits in Dialogue” – featuring 40 artworks that traced the history of portraiture in Jamaica from the 18th century through to the present day, specifically curated to examine and pose challenging questions about intersected issues of race, class, and gender reflected in the works in focus; and “Engaging Abstraction”– comprising 41 modern and contemporary paintings, sculptures, collages, digital installations and mixed media assemblages, primarily dating from the 1960s through to the 2010s. Continue reading Engaging Abstraction and Portraiture at the National Gallery of Jamaica
‘In Search of the Miraculous’ is the second exhibition by Kehinde Wiley to be shown at Stephen Friedman Gallery in London (24 November 2017 – 27 January 2018).
Displayed in three rooms, this series of nine new paintings and a three-channel artist’s film illustrate moments in the lives of young Haitian fishermen presented against a backdrop of tropical coastal settings and tempestuous seascapes.
The press release for the exhibition states that Wiley’s motivation for creating these works was to address a number of themes relating to “migration, madness and isolation in contemporary America.” However, although these foci were symbolically evident throughout the exhibition, the overarching significations foregrounded by Wiley in this body of work were more broadly related to black masculinities, issues of ontology and sense of self for men throughout the African diaspora – not a project centred solely on symbolising the impacts of populist politics for African-Americans in the USA today.
During mid-August 2017 I was very pleased to visit the Gare Saint Sauveur in Lille to view curator Simon Njami’s thought-provoking exhibition of photographs, paintings, films, sculptures and architectural installations by 30 contemporary visual artists from continental Africa and the African diasporas. This spectacular and wide-ranging group show – Afriques Capitales: Vers le Cap de Bonne-Espérance [Capital Africas: Towards the Cape of Good Hope] (Gare Saint Sauveur, Lille, France, 6th April – 3rd September, 2017) – was conceptualised and presented as the second chapter (or, ‘Episode Two’) of a curatorial project that began at the Grande Halle de la Villette in east Paris, and was later transposed and repurposed to fit this alternative setting of a disused freight goods railway terminal on the outskirts of Lille.
At its heart, Afriques Capitales presented a series of inter-connected art-political, historical and geographical narratives about the push and pull of migration, the precariousness of trans-national journey-making, and people’s hopes, fears, aspirations and challenges as they strive to secure a better existence and improved life chances for themselves and their loved ones as a result of moving to different locations – and, potentially also, alternative environments assumed to provide increased safety, security, sanctuary and/or new opportunities.
Since first becoming aware of Simon Njami’s writing and critical analysis of modern and contemporary African art, his editorship of the celebrated art magazine Revue Noire, and his extensive international curatorial practice over the past two decades, I have subsequently followed his progress with keen interest – making regular visits to different exhibition spaces and institutional settings to immerse myself in the stories and assemblages he and his contributing artists generate to provoke new discussions and dialogues about aspects of the universal human condition. All these observations and experiences are, of course, considered and refracted through the complex prism (or ‘optic‘) of colonialism, and its enduring legacies in the present day – reflected upon at the site of the individual (as regards my personal, affective/emotional responses to each artwork); at the level of the nation-state; as a trans-continental conversation between Europe as the site of display, and Africa (including its diasporas) as the creative locus and originating point of departure for these featured exhibits; and also in terms of global discourses about travelling and journey-making to the many elsewheres represented in the featured displays – both near and far; real and imagined.
As soon as I walked through the entrance gates at Gare Saint Sauveur and saw the large-scale architectural structure of Egyptian artist Moataz Nasr’s installation, “I am Free” (2012), I knew I was entering a creative space where the curator had encouraged all the participating visual artists to be bold and expressive on a monumental scale: in other words, giving all the artists and collectives complete licence to think creatively without limits and, in turn, exhort and inspire visiting audiences walking through the exhibition space to respond in kind. In consequence, I required no prompting to run to the top of the temporary staircase erected at both ends of the white-walled, Minaret-like construction to stand on its central platform with my arms outstretched, enacting the declarative statement “I’m Free!” In doing so, I was also able to imagine that I had become one with the vast, black painted bird’s wings, beautifully and fluidly drawn at either side of the neon lighting, and taken flight into a different realm.
I am seldom more satisfied with a gallery visit than on the occasions when you walk into an exhibition space intending to view one thing, and then stumble on something quite unexpected that turns out to be far more interesting than the artwork or display you originally planned to see. The 3rd August 2017 turned out to be one of those days, when my attention and intentions were solely focused on a long-awaited and much-anticipated trip to the National Gallery in Trafalgar Square to see the stunning tapestry-based artwork “The Caged Bird’s Song” (2017).
The tapestry was based on an original watercolour painted by Chris Ofili CBE, and hand-woven in partnership with a team of textile artists from Dovecot Studios. The resulting panels were then displayed as part of the celebrated exhibition, “Chris Ofili: Weaving Magic” (Sunley Room, National Gallery, London, 26 April – 28 August 2017).
The three-panelled tapestry was, of course, as awe-inspiring as the attached pictures suggest. However, the large number of visitors milling in and out of the Sunley Room precluded any opportunity to spend a long period of time quietly contemplating the scale, splendour and intricacy of this vibrantly colourful piece at my own leisure.
Consequently, I changed tack and headed away to make an impromptu visit to the National Portrait Gallery (NPG) to spend time browsing new works in the contemporary galleries and the exhibition for the 2017 BP Portrait Award.
2017 BP Portrait Award Exhibition at the NPG, London
Among the many beautifully rendered portraits featured in this year’s selection of 53 entries displayed to represent the best of the c. 2,580 entries submitted by artists from 87 countries, the five works that (for different reasons) captured and held my attention were (in no particular order): (1) Corinne, by Anastasia Pollard; (2) Society, by Khushna Sulaman-Butt; (3) Portrait of the artist Jerome Witkin, by David Stanger; (4) Lemn Sissay, by Fiona Graham-Mackay; and (5) Another Fine Day on Elysian Fields Avenue, NOLA, by Eva Csanyi-Hurskin.
The striking portrait of “Corinne” by Anastasia Pollard is actually quite tiny, measuring just 255 x 205mm. However, the captivating beauty of the sitter and the overall balance of the composition made it one of the most arresting images in the entire exhibition. It was also not surprising that “Corinne” was chosen by the NPG as one of the featured images used for a substantial element of the marketing and publicity for this year’s award – featuring on the cover of the catalogue, as well as on one of five large-scale promotional posters for the exhibition. Continue reading Picturing Diversity – The Power of Portraiture
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)