Pub Date : 2021-05-01DOI: 10.1215/10757163-8971314
S. Nielsen, Anne Ring Petersen
Abstract:One of the most remarkable signs of the importance and adaptability of Okwui Enwezor's work is the way in which the transformative models for exhibition making that he developed have found their way into small-scale institutional spaces and extra-institutional contexts. Resourceful curators across the world have successfully translated his models into critical formats and inventive ways of producing social and political knowledge, carefully adjusted to local contexts and needs. The aim of this article is to trace the influential postcolonial "platforms model" that Enwezor conceptualized for Documenta11 to a small but internationally acclaimed gallery in Copenhagen: the Center for Art on Migration Politics (CAMP). The article falls into three parts. The first part introduces CAMP and the Danish context for migration, before the authors discuss core elements of Enwezor's exemplary transformation of curating into the creation of platforms for political interventions at his Documenta11 exhibition. The second part seeks to answer three questions: What was the curatorial strategy and multisited structure that Enwezor and his team developed? How did their decolonizing approach help create inclusive, discursive, and curatorial spaces that contested the binaristic perception of the West as the center and the non-West as periphery and offer a vision of the (art) world as profoundly entangled and plurivocal? How has the organization of Documenta11 as a globally distributed network of discursively and conceptually interconnected platforms contributed to restructuring the exhibition venue and to rethinking the interrelationship between the exhibition, as it is traditionally understood as the very core of an art event, and exhibition-related events perceived as collateral, sometimes even dispensable, activities? The third part of the article returns to CAMP to explore the specific translation of Enwezor's legacy into a small-scale, local art space.
{"title":"Enwezor's Model and Copenhagen's Center for Art on Migration Politics","authors":"S. Nielsen, Anne Ring Petersen","doi":"10.1215/10757163-8971314","DOIUrl":"https://doi.org/10.1215/10757163-8971314","url":null,"abstract":"Abstract:One of the most remarkable signs of the importance and adaptability of Okwui Enwezor's work is the way in which the transformative models for exhibition making that he developed have found their way into small-scale institutional spaces and extra-institutional contexts. Resourceful curators across the world have successfully translated his models into critical formats and inventive ways of producing social and political knowledge, carefully adjusted to local contexts and needs. The aim of this article is to trace the influential postcolonial \"platforms model\" that Enwezor conceptualized for Documenta11 to a small but internationally acclaimed gallery in Copenhagen: the Center for Art on Migration Politics (CAMP). The article falls into three parts. The first part introduces CAMP and the Danish context for migration, before the authors discuss core elements of Enwezor's exemplary transformation of curating into the creation of platforms for political interventions at his Documenta11 exhibition. The second part seeks to answer three questions: What was the curatorial strategy and multisited structure that Enwezor and his team developed? How did their decolonizing approach help create inclusive, discursive, and curatorial spaces that contested the binaristic perception of the West as the center and the non-West as periphery and offer a vision of the (art) world as profoundly entangled and plurivocal? How has the organization of Documenta11 as a globally distributed network of discursively and conceptually interconnected platforms contributed to restructuring the exhibition venue and to rethinking the interrelationship between the exhibition, as it is traditionally understood as the very core of an art event, and exhibition-related events perceived as collateral, sometimes even dispensable, activities? The third part of the article returns to CAMP to explore the specific translation of Enwezor's legacy into a small-scale, local art space.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"57 1","pages":"70 - 95"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"90912624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971538
Penny Siopis
{"title":"Conversations of a Lifetime","authors":"Penny Siopis","doi":"10.1215/10757163-8971538","DOIUrl":"https://doi.org/10.1215/10757163-8971538","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"11 1","pages":"166 - 169"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83022646","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971286
Przemysław Strożek
Abstract:This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ's practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor's article "Where, What, Who, When: A Few Notes on 'African' Conceptualism." The author argues that while Enwezor and, later, other scholars, including Olu Oguibe and Salah M. Hassan, critique the work by African conceptualists to and through conceptualist strategies prevalent in Africa and the West, Lagtaâ's work was almost entirely situated in the linguistic, performative, new media, and mail art experiments characteristic of Eastern Europe. While the work of conceptual artists from the African continent identified by Enwezor remained on the margins, outside of international and noninstitutional artistic circuits, Lagtaâ's work was an intrinsic part of the early 1970s collective experiments and transnational networks of artistic exchange between Eastern Europe and other geographical regions.
{"title":"Abdelkader Lagtaâ and His Conceptual Exercises in Poland, 1972–74","authors":"Przemysław Strożek","doi":"10.1215/10757163-8971286","DOIUrl":"https://doi.org/10.1215/10757163-8971286","url":null,"abstract":"Abstract:This article focuses on conceptual practices by Moroccan artist Abdelkader Lagtaâ, whose early 1970s work, created as a part of Polish conceptual milieus in Łódź and Warsaw, remains undocumented in art-historical scholarship. The author rediscovers Lagtaâ's practices as part of conceptual strategies in Eastern Europe and discusses his work in relation to Okwui Enwezor's article \"Where, What, Who, When: A Few Notes on 'African' Conceptualism.\" The author argues that while Enwezor and, later, other scholars, including Olu Oguibe and Salah M. Hassan, critique the work by African conceptualists to and through conceptualist strategies prevalent in Africa and the West, Lagtaâ's work was almost entirely situated in the linguistic, performative, new media, and mail art experiments characteristic of Eastern Europe. While the work of conceptual artists from the African continent identified by Enwezor remained on the margins, outside of international and noninstitutional artistic circuits, Lagtaâ's work was an intrinsic part of the early 1970s collective experiments and transnational networks of artistic exchange between Eastern Europe and other geographical regions.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"11 1","pages":"40 - 52"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"78237056","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971510
N. Beckwith
{"title":"A Letter to Okwui","authors":"N. Beckwith","doi":"10.1215/10757163-8971510","DOIUrl":"https://doi.org/10.1215/10757163-8971510","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"5 1","pages":"160 - 161"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88239225","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971398
Lynette Yiadom-Boakye
{"title":"A Vision and a Conjuring","authors":"Lynette Yiadom-Boakye","doi":"10.1215/10757163-8971398","DOIUrl":"https://doi.org/10.1215/10757163-8971398","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"1996 1","pages":"173 - 173"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79663851","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971243
J. Davidson, Alpesh Kantilal Patel
{"title":"Okwui Enwezor and the Art of Curating","authors":"J. Davidson, Alpesh Kantilal Patel","doi":"10.1215/10757163-8971243","DOIUrl":"https://doi.org/10.1215/10757163-8971243","url":null,"abstract":"","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"89 1","pages":"13 - 6"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75921012","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-05-01DOI: 10.1215/10757163-8971328
Amelia Jones
Abstract:This article looks at Okui Enwezor's theory of countering the art world's "Westernisms" and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of "global" art. It offers two examples of recent hybrid art/curatorial work in Los Angeles—the 2019 David Hammons show at Hauser and Wirth and the Crenshaw Dairy Mart's arts activism—to argue for an extension of Enwezor's model via activist and aesthetic interventions into specific sites and art spaces.
摘要:本文着眼于奥奎·恩维佐(Okui Enwezor)反对艺术界“西方主义”的理论，以及他在组织第11届文献展时对这一理论的实践，以反对普遍化和以欧洲为中心的“全球”艺术概念。它提供了最近在洛杉矶混合艺术/策展工作的两个例子——2019年Hauser and Wirth的大卫·哈蒙斯(David Hammons)展览和克伦肖奶牛场(Crenshaw Dairy Mart)的艺术行动主义——通过激进主义和美学干预，将Enwezor的模式扩展到特定的地点和艺术空间。
{"title":"Ethnic Envy and Other Aggressions in the Contemporary \"Global\" Art Complex","authors":"Amelia Jones","doi":"10.1215/10757163-8971328","DOIUrl":"https://doi.org/10.1215/10757163-8971328","url":null,"abstract":"Abstract:This article looks at Okui Enwezor's theory of countering the art world's \"Westernisms\" and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of \"global\" art. It offers two examples of recent hybrid art/curatorial work in Los Angeles—the 2019 David Hammons show at Hauser and Wirth and the Crenshaw Dairy Mart's arts activism—to argue for an extension of Enwezor's model via activist and aesthetic interventions into specific sites and art spaces.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"12 1","pages":"110 - 96"},"PeriodicalIF":0.3,"publicationDate":"2021-05-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84592910","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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