Zak Ové’s Triumph at the 1:54 Contemporary African Art Fair in London (2016)

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.

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“Blood Type” by Lizette Chirimme (from South Africa), displayed as part of Nando’s Art Collection at the 1:54 Art Fair in London. Photo: Carol Dixon
Coffee being served to visitors viewing Cameroonian artist Barthélémy Toguo's Bandjoun Station display at the 1:54 Art Fair. Photo: Carol Dixon
Coffee being served to visitors viewing Cameroonian artist Barthélémy Toguo’s Bandjoun Station display at the 1:54 Art Fair. Photo: Carol Dixon

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.

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Zak Ove’s installation of 40 graphite sculptural figures in the courtyard at Somerset House in London, displayed as part of the 1:54 Art Fair 2016. Photo: Carol Dixon

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!”

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Facial details of one sculpture from Zak Ove’s installation of 40 graphite figures, displayed at Somerset House in London for the 1:54 Art Fair 2016. Photo: Carol Dixon

Continue reading Zak Ové’s Triumph at the 1:54 Contemporary African Art Fair in London (2016)

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Walthamstow, Women and William Morris: Claire Twomey’s “Living Installation” in East London

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.

Detail from the contemporary ceramic art installation "Claire Twomey: Time Present and Time Past" (2016), nspired by the work of William Morris. Photo: Carol Dixon
Detail from the contemporary ceramic art installation “Claire Twomey: Time Present and Time Past” (2016), inspired by the work of William Morris. Photo: Carol Dixon
Photographic portrait of the artist, graphic designer, philanthropist and social justice campaigner William Morris. The original was taken in the 19th century.
Photographic portrait of the artist, graphic designer, philanthropist and social justice campaigner William Morris –  taken in 1857

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:

Design for Chrysanthemum (1877) by William Morris. This unfinished design is on display in Gallery 2 at the WMG (Walthamstow) and inspired Claire Twomey's 2016 installation. Photo: Carol Dixon
Design for Chrysanthemum (1877) by William Morris. This unfinished design is on display in Gallery 2 at the William Morris Gallery (Walthamstow) and inspired Claire Twomey’s 2016 installation. Photo: Carol Dixon

“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

“Senses of Time”: an exhibition co-organized by LACMA and the Smithsonian National Museum of African Art (2016-17)

“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.

Un Ballo in Maschera, by Yina Shonibare MBE (RA)
A still from the film “Un Ballo in Maschera” [“Masked Ball”] – an installation by Yinka Shonibare MBE (RA). Image courtesy of Yinka Shonibare and James Cohan Gallery, New York. Source: The Washingtonian.
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.

Continue reading “Senses of Time”: an exhibition co-organized by LACMA and the Smithsonian National Museum of African Art (2016-17)

“At Home with Vanley Burke”: an immersive installation at the Ikon Gallery

Objects and artworks from Vanley Burke's archive.
Objects and artworks from Vanley Burke’s archive.

When curators of the recently opened exhibition at the Ikon Gallery invited audiences to feel At Home with Vanley Burke (22 July – 27 September 2015) I was  quite cautious about whether a mainstream British art gallery could create a welcoming space that centralised black British social, political and cultural narratives.  However, I immediately overcame my initial skepticism as soon as I stepped over the threshold of this innovative and sensitively curated installation about the life and work of Birmingham-based photographer Vanley Burke (b. 1951) – an artist, activist and cultural commentator widely regarded as the “Godfather of Black British photography.”

Items displayed in the "front room" of the Vanley Burke installation.
Items displayed in the “front room” of the Vanley Burke installation.

The exhibition – co-curated by Vanley Burke and Jonathan Watkins, with the assistance of Roma Piotrowska – features the entire contents of Vanley Burke’s flat in the Nechells area of Birmingham, carefully re-positioned and creatively displayed in five rooms throughout the 1st floor of the  Ikon’s contemporary exhibition space.

The presentation juxtaposes artworks from the photographer’s celebrated portfolio of documentary images and iconic portraiture with archival documents, political posters, news cuttings, books, records, furniture, clothing, household utensils,  ornaments and a variety of other ephemera collected and archived by Vanley Burke over more than half a century since arriving in the UK as a teenager from St Thomas, Jamaica,  in 1965.

A framed image of "Young Men on a Seesaw" (1984), by Vanley Burke.
A framed image of “Young Men on a Seesaw” (1984), by Vanley Burke.

Hundreds of cultural objects are assembled and displayed in five thematic sections that broadly correspond with the entrance hallway, kitchen, study, living room and bedroom of Vanley Burke’s home. Additional items are also positioned in the interstitial spaces connecting the rooms to form a seamless and continuous pathway through the exhibition.

A tinted studio portrait of Beulah Burke (1917-1981) from Vanley Burke’s personal archive.

From the large bevelled wall mirror positioned at the entrance to the exhibition, to studio portraits of family members displayed in the corridor areas,  a classic 1960s radiogram surrounded by kitsch, crocheted plastic doilies, and a floor-to-ceiling vinyl collection, much of this content evokes the “West Indian front room” aesthetics of post-World War 2 urban Britain.

Ceramic thimbles and miniature statuettes featuring the grotesque Roberson's "Golly."
Ceramic thimbles and miniature statuettes featuring the grotesque Robertson’s “Golly.”

 

 

However, these everyday objects are poignantly interspersed with more politically charged artworks and ephemera – including documentary photographs of racist graffiti painted on brick walls by the far-right National Front, the grotesque Robertson’s “Golly” featured on ceramic thimbles, soft toys and miniature statuettes, and a pile of rusting chains and instruments of torture from the enslavement era tightly packed into a small child’s wooden school desk. During a recent interview recorded for the exhibition in July 2015 Vanley Burke explained his reasons for collecting and archiving this type of material as follows: Continue reading “At Home with Vanley Burke”: an immersive installation at the Ikon Gallery

“BOYCOTT THE HUMAN ZOO!” – A public demonstration opposing the Barbican Centre’s endorsement of Brett Bailey’s ‘Exhibit B’ in London

Activists publicly demonstrating opposition to Brett Bailey's 'Exhibit B-Human Zoo', outside the Guildhall in central London. Date:  11th September 2014.
Activists publicly demonstrating opposition to Brett Bailey’s ‘Exhibit B-Human Zoo’, outside the Guildhall in central London. Date: 11th September 2014.

I was pleased to show solidarity with a small but vociferous group of anti-racist arts activists who turned out in central London to call for a boycott of Brett Bailey’s ‘Exhibit B –  Human Zoo’ installation project today.

Publicity poster for the campaign to boycott the Barbican and Brett Bailey's 'Exhibit B-Human Zoo' installation at the Vaults in London (23-27 Sept. 2014). Source: http://boycotthumanzoouk.com/
Publicity poster for the campaign to boycott the Barbican and Brett Bailey’s ‘Exhibit B-Human Zoo’ installation at the Vaults in London (23-27 Sept. 2014). Source: http://boycotthumanzoouk.com/

Followers of this blog who’ve already read my earlier post about the Barbican Centre’s endorsement of this controversial ‘live performance’ initiative will know that I am currently one of more than 19,700 signatories (and counting!) to a petition calling for it to be boycotted during its London run, from 23rd – 27th September  2014.

Continue reading “BOYCOTT THE HUMAN ZOO!” – A public demonstration opposing the Barbican Centre’s endorsement of Brett Bailey’s ‘Exhibit B’ in London