Synopses & Reviews
Contemporary artists respond to Paul Gilroy's concept of the Black Atlantic
A groundswell of complex events around the globe have made discussion surrounding the Western, Eurocentric, often prejudiced notion of Blackness even more relevant and controversial in recent years. Social conflicts in Western societies have brought the idea of a global, polyphonic Black culture — the “Black Atlantic” — to the fore. The term was coined in 1993 by British sociologist Paul Gilroy, in his book The Black Atlantic: Modernity and Double-Consciousness, now considered a definitive text on the culture and politics of the African diaspora in the Western world.
Through the work of four artists — Sandra Mujinga, Paulo Nazareth, Tschabalala Self and Kemang Wa Lehulere — this publication addresses the complexity of identity, ambivalence around questions of visibility and transparency, and the repression of history in education.
Synopsis
A groundswell of complex events around the globe have made discussion surrounding the Western Eurocentric, often prejudiced notion of 'Blackness' even more relevant and controversial in recent years. Social conflicts in Western societies that were long thought to have been overcome -- such as those in the United States, for example -- have sparked new awareness among members of the Black community and simultaneously brought the idea of a global, polyphonic Black culture (the 'Black Atlantic') to the fore. This publication aims to show a range of artistic positions that address issues relevant to society, including the complexity of identities, the ambivalence of visibility and transparency, and the repression of history in educational settings, to name just a few. Though the works can be considered against the historical background of the 'Black Atlantic', they also point far beyond it in terms of both form and content. Published on the occasion of the exhibition at Kunstverein Hannover, 15 February - 1 June 2020. English and German text.
Synopsis
Contemporary artists respond to Paul Gilroy's concept of the Black Atlantic
A groundswell of complex events around the globe have made discussion surrounding the Western, Eurocentric, often prejudiced notion of Blackness even more relevant and controversial in recent years. Social conflicts in Western societies have brought the idea of a global, polyphonic Black culture--the "Black Atlantic"--to the fore. The term was coined in 1993 by British sociologist Paul Gilroy, in his book The Black Atlantic: Modernity and Double-Consciousness, now considered a definitive text on the culture and politics of the African diaspora in the Western world.
Through the work of four artists--Sandra Mujinga, Paulo Nazareth, Tschabalala Self and Kemang Wa Lehulere--this publication addresses the complexity of identity, ambivalence around questions of visibility and transparency, and the repression of history in education.
About the Author
Professor Roberto Conduru was born in Brazil. He received a B.A. in architecture from Universidade Federal do Rio de Janeiro and a Ph.D. in history from Universidade Federal Fluminense in Brazil. Before coming to SMU, he was professor of art history and theory at the Universidade do Estado do Rio de Janeiro, and was visiting professor of art history in the Meadows School in 2014. Conduru has also served as invited guest scholar at the Getty Research Institute (2012), and president of the the Brazilian Committee of Art History (2007–10).
Conduru’s research addresses modern and contemporary art and architecture in Brazil, with an emphasis on Afro-Brazilian art, as well as Constructivist art andarchitecture. His interests also encompass global art history and current debates in the visual cultures of Latin America and the trans-Atlantic world.