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Frantz Fanon and Visual Representation Edited by Alan Read The Fact of Blackness Frantz Fanon and Visual Representation Edited by Alan Read Institute of Contemporary Arts Institute of International Visual Arts London Bay Press Seattle The Fact of Blackness Frantz Fanon and Visual Representation Institute of Contemporary Arts, London Bay Press, Seattle © 1996 this collection: Institute of Contemporary Arts London © 1996 individual contributions: the authors All rights reserved. No part of this book may be reprinted or reproduced or utilised in any form or by any electronic, mechanical or other means, now known or hereafter invented, including photocopying and recording, or in any information or retrieval system, without permission in writing from the publisher oNsT•TuTe OF Sponsoredby ��;EMPOAARV I C A I TOSHIBA The Institute of ContemporaryArts is sponsored by To shiba and financially assisted by the Arts Council of England, Westminster City Council and the British Film Institute. Educational charity registered number 236848 ISBN Bay Press 0-941920-43-7 (USA & World rights, excluding UK & Ireland) Bay Press 115 West Denny Way Seattle WA 981 1 9-4205 USA Te l 206 284 5913 Fax 206 284 1218 ISBN ICA 1-9003 00-02-8 (UK & Ireland) ICA Publications 12 Carlton House Te rrace London SW1Y 5AH UK Te l 171 930 0493 Fax 171 873 0051 British Library cataloguing-in-publication data A catalogue record for this book is available from the British Library Libraryof Congress number 96-1 1416 This book has been published with the financial assistance of the Arts Council of England and in collaboration with the Institute of International Visual Arts Contents 08 Preface Alan Read 12 I. Stuart Hall The After-life of Frantz Fanon: Why Fanon? Why Now? Why Black Skin, Wh ite Masks? 38 Dialogue Homi K Bhabha, Stuart Hall, bell hooks, Gilane Tawadros, members of the audience 46 Franc;oise Verges Chains of Madness, Chains of Colonialism: Fanon and Freedom 76 bell hooks Feminism as a persistent critique of history: What's love got to do with it? 86 Lola Young Missing persons: Fantasising Black Women in Black Skin, Wh ite Masks 102 Dialogue Lola Yo ung , bell hooks, Gilane Tawadros, Martina Attille, Mark Latamie, Homi K Bhabha, Fran�oise Verges 114 Kobena Mercer Decolonisation and Disappointment: Reading Fanon's Sexual Politics 132 Dialogue Homi K Bhabha, Fran�oise Verges, Kobena Mercer, bell hooks, Isaac Julien, members of the audience 144 Artists' dialogue Renee Green, Lyle Ashton Harris, Mark Latamie, Ntozake Shange, Homi K Bhabha, Stuart Hall, Gilane Tawadros, members of the audience 166 Film-makers' dialogue Mark Nash, Isaac Julien, Martina Attille, Raoul Peck, Homi K Bhabha 180 Dialogue bell hooks, Homi K Bhabha, Gilane Tawadros, Lyle Ashton Harris, members of the audience 186 II. Homi K Bhabha Day by Day... with Frantz Fanon 206 Notes on contributors 08 Preface This book is intended to create a dialogue between Frantz Fanon's ideas on the significance of intellectual work, the politics of location, everyday traumas of socfal inequality, minorities and their experience of the contemporary metropolis, and artists and thinkers whose work has been concerned with the structures and technologies of representation, race and radicalism. There are few figures through whom this complex of concerns could be illuminated - Frantz Fanon is one. The name of Fanon, author of seminal works such as Black SkinJ W'hite Masks and The Wretched of the EarthJ is well known, yet the particular geographical and political conjuncture of his work, coupled with a radical commitment to psychiatry, remains an evocative and problematic terrain for contemporary reconsideration. The legacy of Fanon's work provided the touchstone for Mirage: Enigmas of RaceJ Difference and DesireJ an exhibition, film, live art and discussion programme which was held at the Institute of Contemporary Arts in London between May and July 1995. These events were preceded by a conference, 'Working with Fanon: Contemporary Politics and Cultural Reflection'. Artists from the building-wide project joined theorists and cultural practitioners from a diversity of disciplines to take Fanon on, to engage with each other's perspectives on his influence and to seek the resonance between their work and his work. The purpose was not to detect the effectof Fanon, but to work with Fanon in understanding how narrative, the media, image and symbol lie at the very heart of the practice of politics and social knowledge. The Fact of Blackness is one after-effect of this work. It takes its title from a seminal chapter in Black SkinJ W'hite Masks which provided a provocative location for conference debate. In order to maintain the disagreements and discussions that characterised the life of the conference, dialogues have been included throughout the book which develop various aspects of the papers. The dynamic relationship between talking and doing which the Mirage events evoked, where the practice of artists rubbed up against the thoughts of speakers, provides another context. Ye t what follows has specific additional aims: to reconsider the critical context of Fanon; to articulate the precise historical and professional milieus of his work; to discuss 09 artists' affiliations with the nexus of race, representation and radicalism which were also Frantz Fanon's concerns; and to reiterate ways m which these concerns are already inscribed within contemporary politics. The book moves towards looking; towards the distracted glimpse of recognition in the day-to-day encounter and the concentrated gaze of speculation in an artist's work. Looking marks the inextricable link between words, particularly those of Frantz Farron, and the public world of sights and sounds: the common place of daily acts, which both resists and reinforces the tyrannies of injustice. Thanks are due to the following individuals and institutions for their support ofthis project: To Andrea Phillips, for working with me as editorial partner and for her dedicated management of the production of this project; to Ian Farr, co-ordinator of its production and funding; to Yumi Matote, the book's designer; to David A Bailey, without whose vision the Mirage season, the conference and this publication would not have taken place, and to his colleagues on the editorial advisory board, Gilane Tawadros and Catherine Ugwu; to Helena Reckitt who collaborated with me in organising the conference 'Working with Fanon'; to Homi K Bhabha who advised on the conference and chaired the proceedings; to all participants in the conference, including the audience, whose thoughts make up the heart of this book; to the Arts Council of England Visual Arts Department and Symposia Fund for funding the conference and this publication; to the Institute of International Visual Arts for collaborating with the ICA on Mirage and on this volume; and to the Institute of Contemporary Arts and Bay Press whose financial commitment to this book has brought it about. We are also grateful to: Steve McQueen, Isaac Julien, Mark Nash, Martina Attille, Renee Green, Lyle Ashton Harris, Sonia Boyce, Ntozake Shange, Marc Latamie, Raoul Peck, Paul Gilroy, Thelma Golden, Sander L Gilman, Pat Hearn Gallery, Jack Tilton Gallery, the Peter Norton Family Foundation. Alan Read ICA Director of Talks 12 1 3 The After-life of Frantz Fanon: Why Fanon? Why Now? Why Black Skin, White Masks? 14 Why Fanon? Why, after so many years of relative neglect, is his name once again beginning to excite such intense intellectual debate and controversy? Why is this happening at this particular moment, at this conjuncture? And why is it around the text Black Skin, W'hite Masks that the renewed 'search for Fanon' is being conducted? This essay addresses these questions as they were posed in the context of the ICA's Mirage: Enigmas of Race, Difference and Desire, a programme of film, installation, performance and visual art works by contemporary black artists who acknowledge some debt of influence, usually indirect, to Fanon's work. It is written in the spirit of the title of the conference which took place during the season: 'Working with Fanon'. Why, of the many figures whose emblematic presence could have triggered off such a profusion of discursive and figural production, does the incitation turn out to be Frantz Fanon? Though at one time his name would have been widely known and recognised - usually as the signifier of a certain brand of incendiary Third Wo rld-ism - he is now virtually unknown, even amongst those young, practising, black writers and artists whose work appears, unwittingly, to betray the 'trace' of his presence. Of course, events do not obey any singular, unfolding, teleology of causality or time. But I cannot help fe eling that the re-call of Fanon, now, in this moment, here, in this way, has something of the over-determined 'return of the repressed' about it - a timeliness constituted from many directions at once, as well as a certain 'un-timeliness'. Rather than trying to recapture the 'true' Fanon, we must try to engage the after-life of Frantz Fanon - that which Jacques Derrida would call, following his recent essay on Marx, his 'spectral effect' (was that the Mirage of the title?) in ways that do not simply restore the past in a cycle of the eternal return, but which will bring the enigma of Fanon, as Benjamin said of history, flashingup before us at a moment of danger. 1 'The colonial man who writes for his people' - that is, of course, colonial man and woman, an elision in Fanon which is as characteristic as it is un-timely - 'ought to use the past with the intention of opening up the future', Fanon observed; 'an invitation to an action and a basis of hope'.2 What action, what hope is proposed to us here? And why, of all his writings, is the subject of these aspirations Black Skin, W'hiteMasks? For many years it was the essay on national liberation movements in The Wretched of the Earth, with its invitation to the violent, self­ cleansing, self-remaking anti-colonial struggle, which constituted, for 15 many, the 'invitation to an action' - and, for others, the nightmare spectre ofblack barbarism stalking the streets.
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