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Ernest Mancoba
Ernest Mancoba Aicon Gallery Exhibition February 23rd – March 25th, 2017 Press Preview & V.I.P. Reception: Thursday, February 23rd 6:00pm – 8:00pm 35 Great Jones St., New York NY 10012 Aicon Gallery is proud to present the first major New York solo exhibition by renowned South African artist Ernest Mancoba. Ernest Mancoba (1904- 2002) was born and raised as a black man under the South African apartheid system. In 1938 he moved to Paris to be able to study, work, and especially, to think freely as an artist. At the end of World War Two, Mancoba moved to Denmark with his wife, artist Sonja Ferlov-Mancoba, where they would both become founding members of the COBRA avant- garde art movement. The COBRA doctrine was comprised in part by a stress on the absolute freedom of form and color with a focus on spontaneity and experiment, a reaction against the prevailing tenets of Surrealism, and inspiration drawn from children’s drawings and “primitive art.” Mancoba’s work represents a unique synthesis of modern European art and African spirit. His goal was to bring to European art his deep understanding of African culture, represented by the frequently appearing totems in his drawings and paintings that reflect the humanist Ubuntu philosophy, which developed in Southern Africa and stresses “the belief Ernest Mancoba, Untitled (1), 1985, Oil on canvas, 31.5 x 25.5 in. Image in a universal bond of sharing that connects all courtesy of the Estate of Ernest Mancoba and Galerie Mikael Andersen, humanity.” Or, as Mancoba put it: “A human is a Copenhagen. -
Revista Fractal
FRACTAL REVISTA CUATRIMESTRAL NÚMERO 86 En el tiempo de una obra, es la vida cotidiana la que se pone en escena. Achille Mbembe Director Ilán Semo Consejo Editorial Elsa Cross, Claudio Lomnitz, Lorenzo Meyer, Carlos Monsiváis†, Carlos Montemayor†, Ricardo Pozas Horcasitas, Tomás Segovia†, Enrique Semo Consejo de Redacción Fausto Alzati Fernández, José Luis Barrios, Jorge Fernández Granados, Antonio García de León, Carlos López Beltrán, Benjamín Mayer Foulkes, Pedro Serrano, Mauricio Tenorio, Francisco Valdés Ugalde Diseño María José Farías Edición Alan Cruz, Alejandra Labastida, Andrés Luna, Frida Robles, Dante A. Saucedo, Ilya Semo FRACTAL NÚMERO 86 Sumario EXPEDIENTE NOCTURNO AFRICANO Presentación 11 Francisco Berzunza Historiografía del arte, desde África 17 Fragmentos para una cantera de traducciones de los discursos africanos sobre el arte Kantuta Quirós y Aliocha Imhoff Modernismo africano 37 Más allá del discurso de las modernidades alternativas Salah M. Hassan Error categórico 71 Anthea Buys La vitalidad de la materia 79 Notas sobre las formas primigenias, las superficies, la intimidad y lo social Sarah Nuttall Caída y elevación: 93 en la estela de Cecil John Rhodes Tamar Garb La fotografía de Santu Mofokeng: 113 «la violencia está en el saber» Patricia Hayes «Un género dentro del género»: 145 imágenes del ser y del devenir trans de Zanele Muholi Gabeba Baderoon La fábrica como campo de batalla 175 Helena Chávez Mac Gregor Los recuerdos de Europa 197 en el arte del Sur global Andreas Huyssen De westerns, mujeres y guerra: 215 el cine y la nación en Angola Marissa Moorman Reflexiones sobre ser escritor africano 255 Sean O’Toole La muerte del autor 265 Marlene Dumas Éxodo de perros 269 Okwui Enwezor El pasto es siempre más verde del otro lado 289 Kemang Wa Lehulere LA X Y LA Y Poemas sueltos 295 Iván Palacios Ocaña LÍNEAS BREVES Michel Serres, un zurdo cojo 303 Jorge Andrés Gordillo López Portada: Kemang Wa Lehulere, One is too many, a thousand will never be enough, 2016. -
Ernest Mancoba Born 1904, Boksburg, South Africa Died 2002, Paris, France
CV Ernest Mancoba Born 1904, Boksburg, South Africa Died 2002, Paris, France EDUCATION 1938-1941 École Nationale Superieure des Arts Décoratifs de Paris SOLO EXHIBITIONS (selected) 2019 Ernest Mancoba: I Shall Dance In a Different Society, Centre Pompidou, Paris, France 2017 Ernest Mancoba, Aicon Art Gallery, New York, USA 2015 The Avant-Garde Won’t Give Up: Cobra and It’s Legacy, Blum & Poe, New York & Los Angeles, USA 2014 EWS, Stevenson gallery, Cape Town, South Africa 2013 Solo presentation at 1:54 Contemporary African Art Fair, London by Galerie Mikael Andersen, UK 2011 EWS, Galerie Mikael Andersen, Copenhagen (with Sonja Ferlov Mancoba and Wonga Mancoba), Denmark 1995 Hand in Hand, South African National Gallery, Cape Town (with Sonja Ferlov Mancoba), South Africa 1994 Hand in Hand, Johannesburg Art Gallery, Johannesburg (with Sonja Ferlov Mancoba), South Africa 1977 Ernest Mancoba, Københavns Kunstforening (Kunstforeningen Gl Strand), Copenhagen, Denmark Ernest Mancoba, Fyns Stifts Kunstmuseum (Fyns Kunstmuseum), Odense, Denmark Ernest Mancoba, Silkeborg Kunstmuseum (Museum Jorn), Silkeborg, Denmark 1969 Ernest Mancoba, Aarhus Kunstmuseum (Aros), Århus, Denmark Ernest Mancoba, Holstebro Kunstmuseum, Holstebro, Denmark GROUP EXHIBITIONS (selected) 2019 GMA XXX AAR, Galerie Mikael Andersen, Copenhagen, Denmark 2018 Crossin Night / Hacer Noche, A4 Arts Foundation, Cape Town, South Africa 2017 Documenta 14, Documenta Halle, Kassel Germany and EMST – National Museum of Contemporary Art, Athens, Greece 2014 Liberated Subjects, Foundation -
Critique D'art, 53
Critique d’art Actualité internationale de la littérature critique sur l’art contemporain 53 | Automne/hiver CRITIQUE D'ART 53 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translator: Phoebe Clarke Electronic version URL: http://journals.openedition.org/critiquedart/53747 DOI: 10.4000/critiquedart.53747 ISBN: 2265-9404 ISSN: 2265-9404 Publisher Groupement d'intérêt scientifique (GIS) Archives de la critique d’art Printed version Date of publication: 26 November 2019 Number of pages: 43-53 ISBN: 1246-8258 ISSN: 1246-8258 Electronic reference Dagara Dakin, « The Landscape of African Art: Transformations at the Venice Biennale », Critique d’art [Online], 53 | Automne/hiver, Online since 26 November 2020, connection on 01 December 2020. URL : http://journals.openedition.org/critiquedart/53747 ; DOI : https://doi.org/10.4000/critiquedart.53747 This text was automatically generated on 1 December 2020. EN The Landscape of African Art: Transformations at the Venice Biennale 1 The Landscape of African Art: Transformations at the Venice Biennale Dagara Dakin Translation : Phoebe Clarke “Although I try and put things into perspective, I believe that the reason I have become so spiritually foreign to my native country, while remaining preoccupied by it – while it remains a preoccupation –, is for a great part its refusal to acknowledge the existence of this skull.”1 1 The Venice Biennale, to a greater extent than any other international event, offers a summary of the current global art scene, which could opportunely be re-questioned regarding the visibility of contemporary African art. Throughout the 1990s, the scant participation of African artists in the ritual art gathering was interpreted as the sign of the Western scene’s lack of open-mindedness. -
Salah M. Hassan African Modernism
Salah M. Hassan African Modernism: Beyond Alternative Modernities Discourse African Modernism and Art History’s Exclusionary Narrative On October 25, 2002, South African artist Ernest Mancoba, a pillar of modern African art, passed away in a hospital in Clamart, a suburb of Paris. He was ninety- eight. With a life that spanned most of the twentieth century, Mancoba had lived through the high periods of modern- ism and postmodernism. A few months before Mancoba’s passing, I was extremely fortunate to have received an extended interview by Hans Ulrich Obrist, submitted for publication to Nka: Journal of Contemporary African Art, which I edit. The interview was eventually published in 2003 and was indeed one of the most inspiring texts that I have read in years.1 However, why should Mancoba’s life and his artistic accomplishments be instructive in exploring African modernity and modernism? To be sure, it is not the mere coincidence of his thinking about European modernism or the sig- nificance of Europe, where Mancoba lived and worked for more than fifty years. Mancoba is memorable for his remarkable life of creativity, for his intellectual vigor, for his unique and pro- South Atlantic Quarterly 109:3, Summer 2010 DOI 10.1215/00382876- 2010- 001 © 2010 Duke University Press Downloaded from http://read.dukeupress.edu/south-atlantic-quarterly/article-pdf/109/3/451/470354/SAQ109-03-01HassanFpp.pdf by guest on 01 October 2021 452 Salah M. Hassan found body of work, and for his innovative visual vocabulary and style that have come to shape an important part of our understanding of African modernism in the visual arts. -
Bibliothèque Le Cube
titre de l'exposition artistes curateur auteurs lieu de l'exposition éditeurs nombre de pages année langue exposition d'artistes marocains nombre d'exemplaires Villa Delaporte / Fouad Bellamine, Mahi Binebine, Mustapha Boujemaoui, James Brown, Safâa Erruas, Sâad Hassani, Aziz Lazrak / Bernard Collet Villa Delaporte - Casablanca 48p 2009 français x 1 art contemporains Villa Delaporte Après la pluie Pierre Gangloff / Bernard Collet Villa Delaporte - Casablanca 52p 2011 français 1 art contemporains Villa Delaporte Jacques Barry Angel For Ever / Bernard Collet Villa Delaporte - Casablanca 48p 2009 français 1 art contemporains Yusur-Puentes espagnol - Paysage et architecture au Maroc et en Emilia Hernández Pezzi, Joaquín Ibáñez Montoya, Ainhoa Díez de Pablo, El Montacir Bensaïd, Iman Benkirane. Programmation culturelle de la Présidence espagnole de l’Union européenne Madrid 62p 2010 x 1 français Espagne Chourouk Hriech, Fouad Bellamine, Azzedine Baddou, Hassan Darsi, Ymane Fakhir, Faisal Samra, Fatiha Zemmouri, Mohamed Arejdal, Mohamed El Baz, Philippe Délis, Saad Tazi, Younes Baba Ali, Between Walls Abdelmalek Alaoui, Yasmina Naji Yasmina Naji Rabat Integral Editions 44p 2012 français x 1 Amande In, Anna Raimondo, Mohammed Fettaka, Ymane Fakhir, Mustapha Akrim, Hassan Ajjaj, Hassan Slaoui, Mohamed Laouli, Mounat Charrat, Tarik Oualalou, Fadila El Gadi Regards Nomades Mohamed Abdel Benyaich, Hassan Darsi, Mounir Fatmi, Younes Rahmoun, Batoul S'Himi Anne Dary Frédéric Bouglé Musée des Beaux Arts de Dole - France Ville de Dole 42p 1999 français -
PR Mancoba January 2014
16 January – 22 February 2014 EWS – ERNEST MANCOBA, WONGA MANCOBA, SONJA FERLOV MANCOBA STEVENSON CAPE TOWN is pleased to present an exhibition in partnership with Galerie Mikael Andersen, Copenhagen and Berlin, of works from the Estates of Ernest Mancoba, his wife Sonja Ferlov and their son Wonga. When Sonja Ferlov Mancoba wrote letters from her and her family, she always signed them with the letters EWS – for Ernest, Wonga and Sonja. It is these three letters that give the exhibition its title and theme. Mancoba is arguably the most important modern artist from South Africa, and perhaps Africa, yet unlike some of his contemporaries like Gerard Sekoto, his work has not received widespread critical revaluation. The British artist and activist Rasheed Araeen, in a keynote address to the South African Visual Arts Historians in 2008, described Mancoba as one of the most important artists in any genealogy of African modernism: [H]e is Africa’s most original modern artist, but, more importantly, he enters the space of modernism formed and perpetuated by the colonial myth of white racial supremacy and superiority and demolishes it from within. Ernest Mancoba was born in 1904 in Johannesburg, and died in 2002 in Paris, France. He trained as a teacher in Pietersburg, and received a Bachelor of Arts degree from the University of Fort Hare. In 1938 he left South Africa for Paris, where he studied at the École des Arts Décoratifs. The outbreak of World War II prevented him from leaving Paris and, in 1940, Ernest was interned by the Germans in St Denis where he married Danish artist Sonja Ferlov in 1942. -
Download the Publication
LOST LOOSE AND LOVED FOREIGN ARTISTS IN PARIS 1944-1968 The exhibition Lost, Loose, and Loved: Foreign Artists in Paris, 1944–1968 concludes the year 2018 at the Museo Nacional Centro de Arte Reina Sofía with a broad investigation of the varied Parisian art scene in the decades after World War II. The exhibition focuses on the complex situation in France, which was striving to recuperate its cultural hegemony and recompose its national identity and influence in the newly emerging postwar geopolitical order of competing blocs. It also places a particular focus on the work of foreign artists who were drawn to the city and contributed to creating a stimulating, productive climate in which intense discussion and multiple proposals prevailed. Cultural production in a diverse, continuously transforming postwar Paris has often been crowded out by the New York art world, owing both to a skillful exercise of American propaganda that had spellbound much of the criticism, market, and institutions, as well as later to the work of canonical art history with its celebration of great names and specific moments. Dismissed as secondary, minor, or derivative, art practices in those years, such as those of the German artist Wols, the Dutch artist Bram van Velde, or the Portuguese artist Maria Helena Vieira da Silva, to name just a few, lacked the single cohesive image that the New York School offered with Abstract Impressionism and its standard bearer, Jackson Pollock. In contrast, in Paris there existed a multitude of artistic languages and positions coexisting -
Curators' Series #8 All of Us Have a Sense of Rhythm
CURATORS’ SERIES #8 ALL OF US HAVE A SENSE OF RHYTHM 05.06.2015 – 01.08.2015 INTRODUCTION It is a great pleasure to welcome eighth guest curator Christine Eyene and her ambitious and original exhibition All Of Us Have A Sense Of Rhythm to DRAF. This is, to my knowledge, the first exploration of the lineage of African rhythmic sources in modernist and contemporary practices, thanks to Eyene’s scholarship and personal dedication in its research. The exhibition encompasses sculpture, dance, poetry, video, performance, sound and music. It traces the cadences of modern masters (John Cage, Langston Hughes), popular subcultures (Northern Soul, drum’n’bass) and a contemporary generation of London African diaspora artists (Larry Achiampong, Evan Ifekoya). We look forward to welcoming visitors to this exciting show and concurrent programme of talks and live performances. DRAF is a factory for new prototypes to present and engage with art, and since 2009 exhibitions by international independent curators have introduced new forms to the space and our London audience. We have been particularly proud to present with them works of art from different continents, generations, practices and ideologies, many of which had never been previously displayed in the UK. The depth of their research, their individual curatorial sensibilities and the broad networks of artists and collaborators they have involved have made an invaluable contribution to our programme. Our guests have brought much to the household, and we have both enjoyed and learned from these collaborations. Our thanks to previous Curators’ Series participants, all of whom remain part of the family. -
• Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger
• Joe ALFERS • Peter AUF DER HEYDE • Omar BADSHA • Rodger BOSCH • Julian COBBING • Gille DE VLIEG • Brett ELOFF • Don EDKINS • Ellen ELMENDORP • Graham GODDARD • Paul GRENDON • George HALLETT • Dave HARTMAN • Steven HILTON-BARBER • Mike HUTCHINGS • Lesley LAWSON • Chris LEDOCHOWSKI • John LIEBENBERG • Herbert MABUZA • Humphrey Phakade "Pax" MAGWAZA • Kentridge MATABATHA • Jimi MATTHEWS • Rafs MAYET • Vuyi Lesley MBALO • Peter MCKENZIE • Gideon MENDEL • Roger MEINTJES • Eric MILLER • Santu MOFOKENG • Deseni MOODLIAR (Soobben) • Mxolisi MOYO • Cedric NUNN • Billy PADDOCK • Myron PETERS • Biddy PARTRIDGE • Chris QWAZI • Jeevenundhan (Jeeva) RAJGOPAUL • Wendy SCHWEGMANN • Abdul SHARIFF • Cecil SOLS • Lloyd SPENCER • Guy TILLIM • Zubeida VALLIE • Paul WEINBERG • Graeme WILLIAMS • Gisele WULFSOHN • Anna ZIEMINSKI • Morris ZWI 1 AFRAPIX PHOTOGRAPHERS, BIOGRAPHICAL NOTES • Joe ALFERS Joe (Joseph) Alfers was born in 1949 in Umbumbulu in Kwazulu Natal, where his father was the Assistant Native Commissioner. He attended school and university in Pietermaritzburg, graduating from the then University of Natal with a BA.LLB in 1972. At University, he met one of the founders of Afrapix, Paul Weinberg, who was also studying law. In 1975 he joined a commercial studio in Pietermaritzburg, Eric’s Studio, as an apprentice photographer. In 1977 he joined The Natal Witness as a photographer/reporter, and in 1979 moved to the Rand Daily Mail as a photographer. In 1979, Alfers was offered a position as Photographer/Fieldworker at the National University of Lesotho on a research project, Analysis of Rock Art in Lesotho (ARAL) which made it possible for him to evade further military service. The ARAL Project ran for four years during which time Alfers developed a photographic recording system which resulted in a uniform collection of 35,000 Kodachrome slides of rock paintings, as well as 3,500 pages of detailed site reports and maps. -
Art. Contemporary. African
art. contemporary. Edition 1 Featuring: african. Odili Donald Odita, Otobong Nkanga, Lynette Yiadom-Boakye, Simon Njami, Sylvester Okwunodu Ogbechie, Riason Naidoo, Chimurenga. (Re-) Mapping the field: a bird’s eye view on discourses. IMPRINT / IMPRESSUM SAVVY | art.contemporary.african. SAVVY | kunst.zeitgenössisch.afrikanisch. Online magazine / Onlinezeitschrift Editor-in-chief / Project Initiator Chefredakteur / Projektinitiator Dr. Bonaventure Soh Bejeng Ndikung Deputy Editor-in-chief Stellv. Chefredakteurin Andrea Heister Editors of edition 1 Editoren von Ausgabe 1 Andrea Heister, Bonaventure Soh Bejeng Ndikung Proofreading for edition 1 Lektorat von Ausgabe 1 Katja Vobiller, Simone Kraft, Andrea Heister, Bonaventure Soh Bejeng Ndikung Authors of edition 1 Autoren von Ausgabe 1 Aicha Diallo, Brenda Cooper, Andrea Heister, Prune Helfter, Nancy Hoffmann, Missla Libsekal, Alanna Lockward, Riason Naidoo, Bonaventure Soh Bejeng Ndikung, Simon Njami, Sylvester Okwunodu Ogbechie, Annette Schemmel, Fiona Siegenthaler, Kangsen Feka Wakai Translations Übersetzungen Katja Vobiller, Claudia Lamas Cornejo, Johanna Ndikung, Simone Kraft, Andrea Heister Web design Webdesign Alice Motanga Graphic design Grafikdesign Soavina Ramaroson Bureau Büro Richardstr. 43/44 12055 Berlin Germany 3 TABLE OF CONTENT 0. Editorial Bonaventure Soh Bejeng Ndikung 1. Spotlight on... Go tell it on the mountain Bonaventure Soh Bejeng Ndikung / Andrea Heister A Maestro kicks the bucket: an obituary on Malangatana Der Vorhang fällt: ein Nachruf auf Malangatana Andrea Heister Wangechi Mutu passes the courvoisier to Yto Barrada Wangechi Mutu reicht den Courvoisier an Yto Barrada Bonaventure Soh Bejeng Ndikung House of African Art: First African Art Space in Asia House of African Art: erstes Haus für afrikanische Kunst in Asien Prune Helfter Goddy Leye is dead Goddy Leye ist tot Annette Schemmel 2. -
Creative Conversations: Black Women Artists Making & Doing Influences
Creative Conversations: Black Women Artists Making & Doing Influences and Inspirations of Literature and Language on Black Women’s Creativity Lubaina Himid, Five (from the Revenge series), 1991, Acrylic on canvas, 60 ins x 48 ins Image courtesy the artist and Griselda Pollock. On permanent loan/display at Leeds Art Gallery University of Central Lancashire, 16-17 January 2020 1 Two-day Symposium at UCLAN, 16-17 January 2020. Organised in celebration of the many achievements of Prof. Lubaina Himid, CBE, RA. 35 years of art making, curating and creating conversations, and the first black woman to win the Turner Prize (2017). 2 ACKNOWLEDGEMENTS These events have been sponsored by the University of Central Lancashire (UCLan), the Institute for Black Atlantic Research (IBAR), the UCLan Research Centre for Migration, Diaspora and Exile (MIDEX), the Making Histories Visible Archive (MHV), and UCLan’s School of Humanities, Language & Global Studies and Faculty of Culture and Creative Industries. MHV MIDEX 3 DAY ONE: THURSDAY 16TH JANUARY 11.00am - 17.30pm Media Factory ME 414 11.00 - 11.30 - Registration (refreshments provided) 11.30 - 11.40 - Welcome Address by Prof. Alan Rice 11.40 - 13.15 - Panel One (Chair: Dr Ella S. Mills) • Prof. Lubaina Himid: Maupassant to May Sarton via Essex Hemphill and Toni Cade Bambara: Navigating Madness, Activating Change through painting and reading • Christine Eyene: Making Histories Visible: the George Hallett project • Marlene Smith: Bad Housekeeping: key works, key texts 13.15 - 14.15 - Lunch (provided) in