Pub Date : 2020-11-01DOI: 10.1215/10757163-8719616
S. M. Hassan
Born in Alexandria, Egypt, in 1930, Ahmed Morsi is a multitalented artist who seamlessly moves between different genres and modes of creative expression. A brilliant painter, an eloquent poet, and a sharp art and literary critic whose career has spanned more than seven decades, his work has been enriched by the experience of living in three continents. While Morsi’s oeuvre is the embodiment of polyphony, a unifying force that defies any singular reading is the surrealist spirit that permeates his work across different mediums. The retrospective Ahmed Morsi: A Dialogic Imagination, held at the Sharjah Art Museum in 2017, captured the artist’s restless artistic spirit with a display of the intertextuality and multiplicity of voices through which Morsi expresses his creative talent and endless experimentation. This article references the Sharjah show and offers a survey of Morsi’s career, accompanied by a select number of images of his oeuvre from his early days in his native Alexandria to his sojourns in Baghdad and Cairo, and his current practice in New York City, where he has been living since 1974. It also offers a glimpse, in image and in text, of his diverse corpus of literary works, theater set designs, book covers, as well as rare photographs. In tandem with the Sharjah exhibition and the soon-to-be-published catalogue, the author offers a historical assessment and critical appraisal of Morsi’s accomplishments that will enable readers to appreciate the artist’s remarkable endeavors and experimentations over more than six decades of commitment to creativity in art and literature.
艾哈迈德·穆尔西于1930年出生于埃及亚历山大，是一位多才多艺的艺术家，他在不同的流派和创作表达模式之间无缝移动。他是一位才华横溢的画家，一位雄辩的诗人，一位敏锐的艺术和文学评论家，他的职业生涯跨越了70多年，他在三大洲的生活经历丰富了他的作品。虽然穆尔西的作品是复调的体现，但有一种统一的力量是超越任何单一解读的超现实主义精神，这种精神渗透在他的作品中，跨越了不同的媒介。2017年在沙迦艺术博物馆举办的回顾展“艾哈迈德·穆尔西:对话的想象”(Ahmed Morsi: A Dialogic Imagination)捕捉了这位艺术家不安的艺术精神，展示了穆尔西的互文性和多样性的声音，通过这些声音，穆尔西表达了他的创作才能和无休止的实验。这篇文章参考了沙迦的展览，并提供了穆尔西职业生涯的调查，伴随着他的作品的精选图片，从他在家乡亚历山大的早期到他在巴格达和开罗的逗留，以及他目前在纽约市的实践，他自1974年以来一直住在那里。它还提供了他的各种文学作品，戏剧布景设计，书籍封面以及罕见照片的图像和文本的一瞥。与沙迦展览和即将出版的目录相结合，作者对穆尔西的成就进行了历史评估和批判性评价，这将使读者能够欣赏艺术家在艺术和文学创作方面60多年来的卓越努力和实验。
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Pub Date : 2020-11-01DOI: 10.1215/10757163-8719641
Christine Knight
Abstract:Jacolby Satterwhite is known for creating virtual worlds that feature multiple avatars of himself voguing within densely rendered neon landscapes. He populates those landscapes with threedimensional objects painstakingly traced in the animation program Maya from drawings that his mother made during his childhood in the hopes of striking it rich on the Home Shopping Network. This article focuses on an early work, The Country Ball (2012), an animated video that brings together archival footage from Satterwhite's family at a 1989 Mother's Day cookout alongside his mother's drawings of what he calls "recreational American material culture." The author argues that Satterwhite's virtual performances link queerness and utopia: his animated avatars make manifest his desire to occupy a world as multiplicitous and far-reaching as his sense of self. However, the author believes that this queer utopics begins with Satterwhite's mother and her crafting of a creative process in the midst of terrible constraints on her physical and economic mobility. By reading the artist's virtual worlds through his mother's drawings, the author investigates a similar strategy of "making do to make new," or reworking the mundane in the service of the marvelous.
摘要:Jacolby Satterwhite以创造虚拟世界而闻名，他在密集渲染的霓虹灯景观中创造了多个自己的化身。他在动画程序Maya中精心绘制了这些三维物体，这些物体是他母亲在他童年时期画的，他希望通过家庭购物网络(Home Shopping Network)发家。本文关注的是萨特怀特的早期作品《乡村舞会》(The Country Ball, 2012)，这是一部动画视频，汇集了萨特怀特一家1989年母亲节野餐的档案镜头，以及他母亲画的他所谓的“休闲的美国物质文化”。作者认为，萨特怀特的虚拟表演将酷儿和乌托邦联系在一起:他的动画化身表明了他想要占领一个像他的自我意识一样多元而深远的世界的愿望。然而，作者认为，这种酷儿乌托邦始于萨特怀特的母亲，以及她在身体和经济流动性受到严重限制的情况下，精心打造的创造性过程。作者通过他母亲的绘画来解读这位艺术家的虚拟世界，研究了一种类似的“凑合着创造新事物”的策略，即为奇妙的事物重新设计平凡的事物。
{"title":"A Family Affair: Jacolby Satterwhite's Queer Utopics","authors":"Christine Knight","doi":"10.1215/10757163-8719641","DOIUrl":"https://doi.org/10.1215/10757163-8719641","url":null,"abstract":"Abstract:Jacolby Satterwhite is known for creating virtual worlds that feature multiple avatars of himself voguing within densely rendered neon landscapes. He populates those landscapes with threedimensional objects painstakingly traced in the animation program Maya from drawings that his mother made during his childhood in the hopes of striking it rich on the Home Shopping Network. This article focuses on an early work, The Country Ball (2012), an animated video that brings together archival footage from Satterwhite's family at a 1989 Mother's Day cookout alongside his mother's drawings of what he calls \"recreational American material culture.\" The author argues that Satterwhite's virtual performances link queerness and utopia: his animated avatars make manifest his desire to occupy a world as multiplicitous and far-reaching as his sense of self. However, the author believes that this queer utopics begins with Satterwhite's mother and her crafting of a creative process in the midst of terrible constraints on her physical and economic mobility. By reading the artist's virtual worlds through his mother's drawings, the author investigates a similar strategy of \"making do to make new,\" or reworking the mundane in the service of the marvelous.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"19 1","pages":"56 - 66"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86603370","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 : 2020-11-01DOI: 10.1215/10757163-8719668
G. Nugent
Abstract:This article explores the entanglement of Congolese popular painting with photography through the case of Patrice Lumumba, the first democratically elected prime minister of the Democratic Republic of Congo, who was assassinated in 1961. Lumumba's final public appearance was immortalized in a series of photographs and newsreel footage that was disseminated around the world. The author contends that the events thereafter are frequently envisioned by Congolese popular painting, as it takes over from the operations of the camera in an era largely defined by the photographic. The article suggests that photography and Congolese popular painting are enmeshed in the creation of a visual archive around the figure of Lumumba. Furthermore, it examines the indebtedness of popular painting to photographic culture as well as other sources in the "colonial contact zone."
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Pub Date : 2020-11-01DOI: 10.1215/10757163-8719604
Lucy H. Partman
African American artist Norman Lewis (1909–79) was known to be a complex conversant in command of many verbal and visual idioms. His art reveals an interest in inter- and intrapersonal interactions. Lewis studied how people conversed, the way individuals operated in Groups, and the movement of crowds. His work compels viewers to look carefully at other people and themselves. How do we interact with others and what happens durinG those exchanGes? His interest in human interaction on the micro and macro scales has not yet received in-depth analysis. When for many abstract expressionists the individual and individual experience was paramount, Lewis was concerned with the community and the communal. He desired to communicate with the viewer and persistently souGht to confiGure the most fittinG visual lanGuaGe for the Job. His lanGuaGe and approach to visual communication took from the many vernaculars he used.
{"title":"Norman Lewis","authors":"Lucy H. Partman","doi":"10.1215/10757163-8719604","DOIUrl":"https://doi.org/10.1215/10757163-8719604","url":null,"abstract":"African American artist Norman Lewis (1909–79) was known to be a complex conversant in command of many verbal and visual idioms. His art reveals an interest in inter- and intrapersonal interactions. Lewis studied how people conversed, the way individuals operated in Groups, and the movement of crowds. His work compels viewers to look carefully at other people and themselves. How do we interact with others and what happens durinG those exchanGes? His interest in human interaction on the micro and macro scales has not yet received in-depth analysis. When for many abstract expressionists the individual and individual experience was paramount, Lewis was concerned with the community and the communal. He desired to communicate with the viewer and persistently souGht to confiGure the most fittinG visual lanGuaGe for the Job. His lanGuaGe and approach to visual communication took from the many vernaculars he used.","PeriodicalId":41573,"journal":{"name":"Nka-Journal of Contemporary African Art","volume":"2020 1","pages":"6-21"},"PeriodicalIF":0.3,"publicationDate":"2020-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49431565","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 : 2020-11-01DOI: 10.1215/10757163-8719692
Chika okeke-agulu
In February 2020, the author spent a day with Penny Siopis in her studio at the Michaelis School of Fine Art, University of Cape Town, to discuss the artist’s new ink and wood-glue paintings, which she adopted in 2008 as her primary painting medium. This new direction is quite significant for an artist who, in the 1980s at the height of the antiapartheid movement, made ardently realistic figurative oil and mixed-media paintings that signified the psychic detritus of apartheid’s pathologies. The weighty sparseness of Siopis’s Cake paintings (1981–81) and the airless excess of the History paintings (late 1980s) might have been the artist’s way of both dealing with and reflecting on the psychology of apartheid as the institution lurched to its inevitable end in 1990. In the early 2000s, before settling on ink and wood glue, Siopis spent a few years producing oil and ink paintings that contributed to the making of postapartheid trauma art—investigations into the psychic, moral, and ethical abjections of apartheid in the wake of testimonies from the Truth and Reconciliation Commission. Her ink and glue works represent the conjunction of material, process, and subject matter: Siopis relies on and is challenged by the unpredictable mixing and flow of ink, glue, and water—material acts, as she calls them—that evolve as the sum and interplay of autonomous agencies of medium and artist. Siopis’s most recent work in this medium and her film She Breathes Water (2019) allegorize global warming and the devastating impact of human exploitation of nature—elegies to present and coming catastrophes.
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Pub Date : 2020-11-01DOI: 10.1215/10757163-8719680
Hélène Tissières
Abstract:In 2019, the second edition of Segou'Art, a contemporary art event taking place in Mali, was combined with the country's popular Festival on the Niger, launched in 2005 by cultural entrepreneur Mamou Daffé. The combined festival, held February 1–9, included concerts, workshops, conferences, exhibitions, and performances, uniting people and art forms and working beyond barriers. For two full weekends the event hosted numerous concerts by renowned stars such as Vieux Farka Touré, Sékouba Bambino, Abdoulaye Diabaté, Amadou and Mariam, Fousco and Djènèba, Master Soumy, Tab B., Calibre 27, King KJ, and Kader Tarhanine. The art program was composed of an In at the Foundation and nineteen Offs held throughout the city, showcasing, among others, the work of Abdoulaye Konaté, Barthélémy Toguo, Cheick Diallo, Philippe Dodard, Siriki Ky, and Amehiguéré Dolo, as well as sixteen young artists who were selected from the continent and given the opportunity to attend workshops by leading artists. Galleries and collectives were present as well. This article discusses this amazing event that, through musical and artistic works, promotes peace and stability in a country that has been facing intense political difficulties, fully illustrating this year's theme of Ségou Yelen (Light). The project demonstrates that culture is the best way to bring about hope, unite people beyond their differences, dissuade youth from migrating, elevate the public's spirit, and promote the Malian concept of Maaya—a lifestyle, an attitude, and a way of being based on humanism, civility, and respect of others.
摘要:2019年，在马里举办的第二届当代艺术活动Segou'Art与2005年由文化企业家Mamou daff发起的尼日尔河艺术节(Festival on the Niger)相结合。联合艺术节于2月1日至9日举行，包括音乐会、讲习班、会议、展览和表演，将人民和艺术形式团结起来，跨越障碍。在整整两个周末的时间里，该活动举办了许多著名明星的音乐会，如Vieux Farka tour、s kouba Bambino、Abdoulaye diabat、Amadou and Mariam、Fousco and dj、Master Soumy、Tab B、Calibre 27、King KJ和Kader Tarhanine。该艺术项目包括在基金会举办的一场研讨会和在整个城市举行的19场研讨会，其中展示了Abdoulaye konat、barth和barth和Toguo的作品，Cheick Diallo、Philippe Dodard、Siriki Ky和amehigu - 和Dolo的作品，以及从非洲大陆选出的16位年轻艺术家，他们有机会参加由主要艺术家举办的讲习班。画廊和集体也出现了。这篇文章讨论了这个惊人的事件，通过音乐和艺术作品，促进了这个面临严重政治困难的国家的和平与稳定，充分说明了今年ssamku Yelen(光)的主题。该项目表明，文化是带来希望、超越差异团结人们、劝阻年轻人移民、提升公众精神、推广马里玛雅概念的最佳方式——一种基于人文主义、文明和尊重他人的生活方式、态度和方式。
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Pub Date : 2020-05-01DOI: 10.1215/10757163-8308270
Naminata Diabate
ABSTRACT:Cultural products and discourses about erotic pleasure have recently proliferated, leading to what the author calls “the pleasure turn.” In studies of African culture, “the pleasure turn” can be read as decentering the dominant paradigm that has mostly associated black nakedness with negative emotions: sorrow, pain, and humiliation. Illustrative of the turn is the 2009 exhibition Beauty and Pleasure in South African Contemporary Art, which considered pain and suffering as overrated and sought to provide a more accurate picture of life on the continent as a mix of pleasure and pain. This article closely reads the South African multimedia artist Dineo Bopape’s 2008 Silent Performance, alongside Berni Searle’s 2001 politically charged Snow White, to point out their generative potential for the intersection of the visual media, erotic pleasure, and nudity. Traditional views of pleasure have avoided the nexus of erotic pleasure and the visual because of their historical association with nineteenth-century scientific racism. The author argues Bopape’s and Searle’s images exceed a single and stable interpretation. By inserting their (semi-)naked bodies as central images, they invite yet resist unwanted readings of erotic pleasure in their works. Incorporating her analysis of these works into her conceptualization of images of black female nudity in art, the author proposes that a robust attention be given the visual image in the rising conversation on pleasure in African studies.
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