In: African art
In Say Hello to English, his second exhibition at the Tyburn Gallery London, multimedia artist Moffat Takadiwa presents a compelling new series of three-dimensional wall hangings, or object sculptures, that aesthetically engage with problematics surrounding postcolonial constructions of Zimbabwean national and cultural identity.
Born in Haroi in 1983, and practicing in the capital city of Harare since graduating (B.A. Hons) from Harare’s Polytechnic University in 2008, Takadiwa has consistently devoted his work to critical explorations of how material, environmental, and social factors impact the reality of contemporary Zimbabwean daily life. In a previous exhibition entitled Across Borders (on display at the What If The World gallery in Cape Town last year), Takadiwa examined the nature of Zimbabwean-Chinese economic and trade relations, and their deleterious effects on the natural Zimbabwean environment. For that show, Takadiwa created a collection of intricate, highly textural wall sculptures using post-consumer waste materials, such as bottle caps and disused computer and laptop parts.
In Say Hello to English, his current exhibition at the Tyburn Gallery, Takadiwa shifts his (and our) gaze to a critical reassessment of post- and neo-colonial aspects of the English language, a legacy of Zimbabwe’s colonial past as the former British Crown colony of Rhodesia. For Takadiwa, the English language is problematic because of its tendency to create class divisions (i.e., English-speaking elites) in Zimbabwean society, and its power to both shape and undermine contemporary constructions of Zimbabwean cultural identity. For Takadiwa, language and culture are inextricably intertwined –especially in the context of post-independence Zimbabwe–, and this standpoint is reflected throughout his oeuvre.
For the sculptural objects on view in Say Hello to English, Takadiwa makes use of a radically different medium to portray his ideas, namely: lettered, Roman-alphabet keys taken from post-consumer laptop and computer keyboards. These computer keys appear to have been woven together like traditional Zimbabwean textiles, but are here recast into a more contemporary, high-tech idiom. In an amusing and daring act of subversion, Takadiwa deconstructs and subverts the English language itself in these objects, by arranging the keys seemingly randomly (in effect scrambling them) so they are not legible in any way. Moreover, the artist has turned most of the lettered keys upside down, so that all viewers can see are their bottom ends, with the lettered crown rendered invisible. This aesthetic strategy powerfully conveys the struggles contemporary Zimbabweans experience with the English language, and how important it is, at least to some extent, to say “goodbye” to English in order to preserve the Bantu languages, as well as other aspects of pre-colonial Zimbabwean culture.
Although all of the works included in the exhibition Say Hello to English deal with problematics surrounding intertextuality, language and culture, one work in particular provides a paradigmatic example of Takadiwa’s philosophy, namely “The Falling of Rhode/sia.” According to the press release issued by the Tyburn Gallery, this work takes its inspiration from the “Rhodes Must Fall” social movement that was formed to contest Western-oriented education in Africa. “The Falling of Rhode/sia” also makes direct reference to the arch-imperialist Cecil B. Rhodes, whose statue at Cape Town University was recently removed from the campus as a result of student protests. In “The Falling of Rhodes/ia,” Takadiwa essentially reimagines Rhodes as a new, post-colonial creature, whose persona is both fierce (signified by the long red tongue and bared claws) and friendly (suggested by the creature’s loose and amorphous shape). For this viewer, Takadiwa’s “fallen,” reincarnated Rhodes is a likeable, positive figure who successfully reconciles Zimbabwe’s colonial past and post-colonial present.
Say Hello to English is on view at the Tyburn Gallery, London until May 6, 2017.
Four years ago, award-winning artist Aida Muluneh spearheaded efforts to create East Africa’s first international photography festival, Addis Foto Fest. Of course, she couldn’t have done it without her team at Desta for Africa Creative Consulting (DFA), a Private Limited Company founded by Aida Muluneh herself. Desta works to spread education through art, and so a festival like Addis Foto Fest was an almost obvious step for their efforts.
Aida Muluneh was born in Ethiopia but has spent most of her life in other countries. However, she had always fantasized about returning to her home land, and in 2007 she got the opportunity to do so while working on a documentary. She saw the allurement of Ethiopia and decided to leave her life in Canada to stay in Addis Ababa, where she worked as an advocate for the culture and beauty of her native country. It was this idea that became the fundamental philosophy and goal behind Desta, which is an acronym for “Developing and Educating Society Through Art.”
Addis Foto Fest was established only a few years after Desta was created, and was the result of Muluneh’s attendance to the Rencontres Africaines de la Photographie in Bamanko, where she was to receive the European Union Prize. There she became aware of a strong global misrepresentation and belittling of Africa, both in photography and in the film. Muluneh stated that “This world is not perfect and neither are we, but why is it always our imperfections that are in the lead as opposed to the balanced story of who we are?”. Addis Foto Fest was thus created to rethink what defines Africa, and to show images that truly represent all aspects of the different African cultures.
This festival is all about communicating with artists and educating not only those who are in involved with the festival but the whole world in this progression towards re-branding the African continent. In a recent article in Vogue Italia —a sponsor of the festival—, Muluneh described Addis Foto Fest as “an educational tool; it is a form of cultural exchange that fosters mutual understanding and simultaneously furthers the bigger conversation—that the creative sector is part and parcel to development”.
Addis Foto Fest has been a huge success since its beginnings and is now recognized as one of the leading photography festivals in the whole of Africa. The show is set up every two years —in 2016 it was held between the 15th and the 20th of December. There were amazing events taking place every day, including portfolio reviews by international professionals, lectures, and dance performances. A total of 126 artists from more than 40 countries around the world exhibited their work, shaping an outstanding display where many different contemporary approaches to photography were represented.
I met Touria El Glaoui during the opening of 1:54 art fair this October. Already familiar with Touria’s tremendous success in not only establishing the fair four years ago, but also expanding to New York only two years after the inauguration, I was intrigued to meet her.
Elegant in her long silky dress with a stylish, and warm for English weather, cardigan, Touria made you feel 1:54 was not simply an art fair, but a home. The amiable, pleasant atmosphere of the Somerset House, which you don’t typically find in a large-scale art fair, made me feel like a guest to a home party, rather than a stranger in a museum. There was no sense of pretensiosness.
While we were sipping hot morning coffee and treating ourselves with a warm butter croissant, Touria shared how she built the brand, or better say the platform for contemporary African artists, and what it took to get 1:54 to the level of today.
You earned your MBA in Strategic Management and have an impressive background working both in banking and IT industries. What made you decide to turn to the art one?
I grew up in Morocco in the house of an artist – my father, Hassan El Galoui – and he was the person who gave me my artistic education. For this reason, art – particularly African art – has always been a part of my life. Much later on – in fact, during my career in the IT industry – I was travelling extensively around Africa and the Middle East, and this is when I fully realised how absent African and African diaspora artists were from the international markets in Europe and the US. Having the seen the incredible work being made on the continent, I decided it was time to the bridge the gap and create a platform.
How did you personal background (your farther is a famous artist) influence you throughout your career?
Many of my earliest memories are of my father’s studio with its incredible smell of oil paint. I would spend hours watching him transform his canvases, and the life of an artist became my daily norm. Because of this, my approach to running 1:54 has always been centred on the artist and on maintaining the integrity of the work. I have also organised and co-curated a number of my father’s exhibitions, and have also been working on the catalogue raisonné of his life’s work, and these experiences have certainly shown me much about the realities of being an artist working on the continent verses in Europe and America.
How did the idea for 1:54 come about? What challenges did you face/still facing?
When I established 1:54 back in 2013, the biggest challenge was finding both the interest and the support. This underpinned much of my decision to launch in London. In 2011 I could already see evidence of a growing interest in African and African diaspora art – for example with the Tate launching its two-year African art programme. I will never forget the incredible backing that I received in that first year, yet every year we continue to face the financial challenge of making the fair happen. We are incredible grateful this year to our main sponsor, Floreat, as well as to Christie’s education and the Arts Council England who have both sponsored this year’s FORUM.
Are you planning on expanding the fair to other locations? What’s the importance of having the fair now in both London and NY?
As I said, London was the most obvious ‘home’ for 1:54 for a few reasons, its internationality being one. Once London was up and running, we began to toy with the idea of New York, and began to see that our galleries and collectors were keen to make the move. We first launched as a pop-up edition, in May 2014, but returned again this year to enjoy our second edition. The two fairs are actually quite different due both to the buildings they are housed in as well as the different audiences they attract, and so the importance of having both editions is to widen the diversity and outreach of the fair. It’s very exciting for us when collectors are able to visit both.
Who’s your favourite artist?
This is always such a difficult question! I can never choose and it would be unfair for me to do so. All the artists and galleries that we welcome to each new edition brings something unique to 1:54 and my greatest hope is always that our visitors will explore and appreciate this diversity, and appreciate each artist in their own right.
6. Tell us what is new in this year’s edition of 1:54 art fair.
I am particularly excited about our incredible line up of Special Projects joining us this year. We have 10 in total, and each one is incredibly unique and will add a whole new element to the fair. Zac Ové’s installation, for example, will extend the fair into the Edmond J. Safra Fountain Court for the first time ever; Ifeanyi Oganwu’s lounge design – created in collaboration with Phoebe Boswell – and Barthélémy Toguo’s Mobile Cafeteria will introduce vibrant, interactive spaces; and we will also be extending out over the airwaves with a live three-day broadcast by a new music-radio platform, Worldwide FM. Of course the Malick Sidibé exhibition – created in collaboration with Somerset House and MAGNIN-A – is also incredible exciting. We are thrilled to have the opportunity to showcase such an influential African photographer, and to be able to extend the exhibition past the four days of the fair, throughout Somerset House’s winter season.
Who are the artists to watch at 1:54 this year in London?
I want to draw attention to the fact that this year we are delighted to be welcoming 16 Africa-based galleries, of which 6 are from North Africa. Many of these are joining us in London for the first time, including Village Unhu from Harare, Zimbabwe; Mashrabia Gallery of Contemporary Art from Cairo, Egypt; and L’Atelier 21 from Casablanca, Morocco.
What are your future plans for the fair and beyond?
1:54 is constantly evolving, this year we welcome an incredible 40 exhibitors with over 130 artists exhibiting with us this year. Despite this, we want our ethos to stay the same: to create a platform for African and African diaspora artists in the international art market while putting the artist first. In terms of expanding further afield, we first want to ensure that our London and New York editions are as good as they can be.
October 5, 2016
Autumn. The season of cooler weather, multicolored leaves, long strolls in the Heath and marrons glacés, the time when we all start reminiscing about our summer fun and get ready for winter. However, the fall season is not only warmer clothes and hot chocolate, but also the time for major art happenings around the world.
Autumn, and especially October, is the time to follow new fashion trends at fashion weeks in the major cities, and to enjoy weeks of art. The Old World’s art capital – London – started long ago to prepare for the first week of October, aka the busiest and most stressful time in the art world.
The annual arrival of Frieze – the art fair opening in Regent’s Park October 6-8th – and it’s daughter Frieze Masters trigger parallel art happenings, such as the most important contemporary art evening auctions, art festivals, art shows and a myriad of talks and events throughout the capital, in order to benefit from the arrival of the art world’s mighty and try to get a piece of that juicy cake.
Find below a list of TOP artsy things to do this October in London and, believe me, you will want to be one to visit them:
Arguably the most well-known art fair today, though not the most visited one (according to the annual report by ArtVista) Frieze opens for the 13th time this October at Regent’s Park.
Note-by: if you feel unsure about spending 60 pounds on combined ticket to both Frieze&Frieze Masters, make sure to stroll in Regent’s Park – Frieze Sculpture Park is free for all and this year features canonical artists such as Jean Dubuffet, Ed Herring, and Lynn Chadwick just to name a few. The Sculpture Park will be on view for you to visit until January 8th, 2017.
The fair of contemporary African Art, 1:54 will return for the forth time to Somerset House this October. Representing over 50 African countries, 1:54 breaks the traditional approaches to art fairs and delivers a must-see program. The largest edition yet, the fair takes over the whole Somerset House this October and showcases 40 galleries.
Note-by: stop by the open-air installation by Zak Ove at the Somerset House’s courtyard, as well as by the unmissable exhibition of the exceptional Malick Sidibé (Malian photographer) – the exhibition will be on view for you to see up until January 15th, 2017.
Presumably you heard of the name Pollock. Or you heard that one of his paintings titled No 5 (1948) is one of the most expensive paintings in history and was sold for $165.4 million at an auction. Or maybe you didn’t. But the fact is that this exhibition is the first major retrospective of the Abstract Expressionist art movement in the UK in 70 years. Think abstraction, color fields and visual travel. You ought to see it.
Note-by: The most interesting part is the inclusion of not only famous names like Pollock and Rothko in the exhibition, but also of other artists who contributed to the movement.
This must-see exhibition presents just how talented Picasso was. The show will display portraits created during every stage of the artist’s career and will showcase famous masterpieces, as well never seen before works from private collections.
Note-by: the granddaughter of the artist, Diana Widmaier-Picasso, will be in conversation with the director of the National Portrait Gallery, Dr Nicholas Cullinan, on the 6th of October at 7pm, giving her views on Picasso’s portraiture.
Another must-visit show in London focuses on Caravaggio. It is important to note, though, that the primary accent will be given to the influence that the artist had on his contemporaries by showcasing the works of lesser-known artists of the time. So-called Caravaggism will be explored throughout the exhibition and bring together works by Caravaggio and his European followers.
Note-by: The National Gallery created a series of events and talks to introduce visitors to the Caravagesque style and to Caravaggio himself throughout the month of October. If you are a fan of Baroque art, or just a curious soul, make sure to check some of them out.
April 27, 2016
I recently got back from a short, museum-packed trip to Washington, D.C. for spring break. Do you remember the museum scene from Passport to Paris? It was a little like that, except unlike Mary-Kate and Ashley, I had a blast. Among the multiple Smithsonian institutions I visited, one of my favorites was the National Museum of African Art (not to be confused with the National Museum of African American History and Culture opening this September). The seemingly small but uniquely designed museum first opened its doors in 1964. At the time it was known as the Museum of African Art, located on Capitol Hill in a townhouse that had been the home of Frederick Douglass. In August 1979, the museum became part of the Smithsonian Institution. It is now located on the National Mall (which, by the way, is full of cherry blossoms this time of year, in case you’re planning your own “wanna get away” trip).
Among other exhibits, now on view is Artists’ Books and Africa. The twenty-five books included in the exhibition are either by African artists or feature traditional African themes, and all come from the permanent collections of the museum and the Smithsonian libraries. Through the books, the exhibition explores African history and cultures by embodying collective memory and reclaiming cultural heritage and storytelling. The show features fine art books as well as those employing multiple formats, materials and techniques by predominantly contemporary artists.
The books range in theme from personal narratives to reflections on the human condition. The sprawled out pages of Atta Kwami’s (b. 1956 in Ghana) Grace Kwami Sculpture (1993) resemble the form of a spider, drawing upon the African folklore of Anansi, the mischievous but knowledgeable spider known for his cleverness and skill, to tell the story of the artist’s mother, Grace Kwami (1923–2006), who was also an artist. Each of the book’s “legs” show pictures illustrating Grace’s life, creating a metaphor between the skillfulness of the spider and the creativity of the artist’s mother (my mind immediately went to Maman by Louise Bourgeois).
Another artist, Judith Mason (b. 1938 in South Africa) and poet Wilma Stockenström (b. 1933 in South Africa) use the book to visualize pain, or more specifically, a woman’s pain. In their book, Skoelapperheuwel, Skoelappervrou (Butterfly Hill, Butterfly Woman), Mason uses lithographs of pencil illustrations and collages of torn paper as the background for Stockenström’s enigmatic yet thought provoking words. Written in free verse Afrikaans, Stockenström contemplates the role of women in society, as well as other existentialist themes such as death and the afterlife. The ripped pages signify a kind of trauma presumably felt by all women, whether from childbirth, intercourse, or menstruation. The poetry is not fully translated into English, but even without textual reference, the message of the powerful and often visceral images is clear.
The versatility of artist books shows how their form and structure often supercede their content. Inspired by the “power to the people” mindset of the 1960s, inexpensive artists’ books referred to as “democratic multiples” are made to be distributed to as many people as possible, and typically convey social or political messages. South African artist Luan Nel’s (b. 1971) piece Paper: An Installation by Luan Nel at the Mark Coetzee Fine Art Cabinet takes the form of a tiny deck of cards. Looking at the cards feels like taking a Rorschach test as the small, ambiguous figures gradually create stories and sequences the longer you engage with them. The images are playful, but also veil the experiences of the artist’s life, addressing his homosexuality, Afrikaans heritage, his upbringing in the strict Dutch Reformed Church, and being drafted by the South African army during the era of apartheid.
The books are beautiful, surprising, darkly humorous, and at times bizarre. At first glance they seem to be purely aesthetically driven, but each page reveals something about the artist who created it. Artists’ Books and Africa will be on view until September 11, 2016 at the National Museum of African Art in Washington, D.C.