5000 Miles and 70 Years: Vanley Burke’s Windrush-inspired installation at Midlands Arts Centre, Birmingham

A new site-specific installation ‘5000 Miles and 70 Years’ by the internationally renowned photographer Vanley Burke was launched at Midlands Arts Centre (MAC) in Birmingham on Friday 4 May 2018. The installation featured a collage of archival materials and photographs from the artist’s extensive portfolio of images relating to the lived experiences of African and Caribbean diaspora communities in Britain since the mid-20th century.

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Detail from the collage-based installation ‘5000 Miles and 70 Years’ by Vanley Burke – displayed in the Terrace Gallery at Midlands Arts Centre, Birmingham, UK. Photo: Carol Dixon.

Displayed across the length of the Terrace Gallery on the venue’s ground floor, and also as a full-colour frieze exhibited across several 1st floor window panes, the installation offered poignant insights into the lives of Vanley Burke’s family and friends, as well as wider African-Caribbean diaspora communities settled in the West Midlands and other regions of the UK over several decades.

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A section of the installation ‘5000 Miles and 70 Years’ by Vanley Burke, presented across the 1st floor window panes at Midlands Arts Centre. Photo: Carol Dixon.

The artwork ‘5000 Miles and 70 Years’ was specifically commissioned to commemorate the 70th anniversary of the arrival of the Empire Windrush passenger ship at Tilbury Docks in Essex on 22nd June 1948 carrying on board c.500 migrants from islands and nations in the Caribbean region – many of whom were former servicemen and women who had served in the British armed forces and auxiliary services throughout the Second World War. The arrival of the Windrush has subsequently become a symbolic event in the social, economic and cultural history of Britain and the Commonwealth and, as such, the arrival date signifies the beginning of what is now referred to as the era of the ‘Windrush Generation.’ However, as Vanley’s installation illustrates, the imagery and documentation featured in the collage communicates a longer-standing, further-reaching and more complex history of Britain’s relationship with the Caribbean region and its people that encompasses the era of transatlantic enslavement, centuries of colonial exploitation, global trade links and the legacies of British imperialism in the West Indies. Interspersed with the family photographs, street scenes, images of domestic interiors and documentation about working class life from the past seven decades are also extracts from political posters, anti-racism campaign leaflets, news cuttings and photographs of protest marches and demonstrations that articulate the ongoing struggles of diasporans from the Caribbean to achieve their rights, equalities and freedoms as British citizens – not only for themselves, but also for subsequent generations of descendants born in the UK.

Photographer Vanley Burke was born in Jamaica in 1951 and migrated to Britain as a teenager in 1965. Since that time he has become one of the most important documentarians of black British history – using his skills as a photographer, as well as his passion for archiving, to produce and preserve a powerful, emotionally charged and thought-provoking visual narrative about the post-war lived experiences of black Britons. It is for these reasons that many art historians, sociologists and cultural studies scholars rightfully refer to Vanley Burke as “the foremost chronicler of Birmingham’s black history” and  “custodian of the history and the cultural memory of Black Birmingham” (see, for example, the book ‘Black Artists in British Art: A History Since the 1950s’ by Eddie Chambers (IB Tauris, 2014)).

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Photograph of Vanley Burke, pictured in front of his installation artwork ‘5000 Miles and 70 Years’ at Midlands Arts Centre, Birmingham (4 May 2018). Photo: Carol Dixon.

It was an honour and a privilege for me to meet Vanley Burke at the launch event for his new site-specific installation, and I even managed to get a picture of him standing in front of his thought-provoking new artwork (shown above). Continue reading 5000 Miles and 70 Years: Vanley Burke’s Windrush-inspired installation at Midlands Arts Centre, Birmingham

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ALBUS – an exhibition of photography by Justin Dingwall and Thando Hopa (ArtCo Gallery, Germany)

South African photographer Justin Dingwall and lawyer and model Thando Hopa have recently collaborated on a new project featuring photographic portraits that address albinism as a key theme. Both the model and the photographer have created a series of poignant images that invite audiences to reflect on – and rethink – attitudes towards beauty, skin colour, corporeality and albinism as a condition caused by a lack of melanin in the skin that can affect people from every ethnic background.

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This image – titled,”GRAZIA” (2015) by Justin Dingwall , from the ALBUS series – recently featured as part of the ArtCo Gallery presentation displayed at the 1:54 Contemporary African Art Fair in London (Somerset House, October 2016). Photo: Carol Dixon (8/10/16)

In addition to the presentation of these striking visual images, Dingwall and Hopa aim to inspire a public debate about the historical taboos that surround the subject of albinism, as well as  draw attention to the devastating levels of discrimination, threats of physical violence and actual bodily harm many people with albinism have experienced throughout history because of the superstitions that persist in some societies around the world.

Dingwall and Hopa’s series of photographs taken between 2014 and 2015 will be displayed in a new solo exhibition – titled, “ALBUS” (27 November 2016 – 13 January 2017)  at the ArtCo Gallery, Aachen, Germany.
Continue reading ALBUS – an exhibition of photography by Justin Dingwall and Thando Hopa (ArtCo Gallery, Germany)

Black Portraiture[s] III: Reinventions – Jo’burg Conference, 17-19 November 2016

“BLACK PORTRAITURE[S] III: Reinventions: Strains of Histories and Cultures” is the seventh conference in a series of transnational and diasporic conversations about imaging the black body. It offers a forum that gives artists, activists, educators and scholars from around the world an opportunity to share ideas, from historical topics to current research on the 40th anniversary of Soweto. Presenters will engage a range of topics such as Biennales, the Africa Perspective in the Armory Show, the global art market, politics, tourism, sites of memory, Afrofuturism, fashion, dance, music, film, art, and photography.

image: Kudzanai Chiurai, Genesis XI, 2016
image: Kudzanai Chiurai, Genesis XI, 2016

The conference takes place November 17-19, 2016 at the University of the Witwatersrand (Wits) in Johannesburg, South Africa, and was planned in collaboration with the U. S. Department of State, U.S. Ambassador to South Africa, Patrick H. Gaspard, Goodman Gallery, Hutchins Center for African & African American Research/Harvard University, New York University’s La Pietra Dialogues, Tisch School of the Arts and the Institute for African American Affairs.

When the conference was first announced, the Dean of Tisch School of the Arts, Allyson Green,  said:

“The world will be greater because of the conversations and explorations that will be held when more than 140 papers and performances are presented on topics such as the global art market, activism, politics, tourism, sexuality, sites of memory, Afrofuturism, fashion, dance, music, film, and photography.”

Allyson Green, Dean – Tisch School of the Arts,
New York University

To view the full conference schedule and see a list of participating speakers, please visit the website http://www.blackportraitures.info/schedule/.

Film footage of keynote presentations from previous conferences in this series can also be viewed online at http://www.blackportraitures.info/live-stream/.

Continue reading Black Portraiture[s] III: Reinventions – Jo’burg Conference, 17-19 November 2016

Installation Art by Otobong Nkanga (on display in Oxford, UK, until November 2016)

otobongnkanga-installation-at-portikusThe 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”

Detail from Tsumeb Fragments (2015) by Otobong Nkanga
Detail from “Tsumeb Fragments” (2015) by Otobong Nkanga featuring photographic images of Tsumeb, Namibia.

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.

Reflecting on her travels in Namibia, and her artistic process during the design and assemblage of Tsumeb Fragments, Nkanga said:
Continue reading Installation Art by Otobong Nkanga (on display in Oxford, UK, until November 2016)

ECAS: 7th European Conference on African Studies (Basel, 29 June-1 July 2017)

The 7th European Conference on African Studies (ECAS) will be taking place at the University of Basel (Switzerland) from 29th June to 1 July 2017. The theme for this year is “Urban Africa – Urban Africans: New encounters of the rural and the urban,” and I am aware from the preliminary call for panels that there is considerable interest in discussing and addressing issues about how current urbanization trends are impacting societies and individuals in terms of artistic, aesthetic and cultural responses, just as much as the more widely discussed dynamics and precarities of socio-economic, political and environmental change.

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Two sartorially elegant men from Congo Brazzaville involved in the lifestyle and performance of “La Sape” / “Sapeur aestheitcs.” Image source: c/o The Telegraph.

This conference is a gift for contemporary cultural geographers from continental Africa and the global African diasporas who wish to actively challenge and push back against the highly contentious and problematic pedagogies associated with so-called “African Studies” within the European academy. Indeed, the conference conveners at the University of Basel (CASB)  have stated the following in their recently issued call for papers, presentations and other contributions:

“The key issue… is how urbanization processes in Africa transform conventional objects of African Studies and how [you/me/we] gear up to face such changes … While the urban will be prominent, the proposed conference theme will also look into the entanglements of the rural with the urban, especially with a view to addressing an implicit assumption underlying the study of Africa and which concerns the supposed rural ‘nature’ of the continent as well as the constitutive nature of the tension between tradition and modernity.”

CASB conference conveners, University of Basel (Switzerland)

Continue reading ECAS: 7th European Conference on African Studies (Basel, 29 June-1 July 2017)