Photography exhibition at 1-54 Contemporary African Art Fair/ in New York, 3-5 May 2019.

May 2: VIP viewing with two private tours, 11-12pm and 3-4pm.

Saturday May 4: Panel Discussion 6:30 – 7:30 pm

Special Project Booth 26 / Industria, 775 Washington Street, Manhattan.

Isabel S. Wilcox is pleased to announce an exhibition from her collection of the work of the photographer from the Ivory Coast, Paul Kodjo.

Paul Kodjo’s black and white photographs are being shown in the US for the first time.  Working within the tradition of African traditional studio photography but pushing its boundaries, Kodjo photographed his subjects outside of the studio in staged modern domestic indoors and in the streets of Abidjan, creating a unique record of Abidjan during the years of the economic boom of the early post-independence years.

Kodjo used a cinematic approach and introduced movement and dramatic tensions drawing the viewer into his subjects’ lives: their relationships and emotions. He turned to the tradition of the photo-roman/photo-novel that were published in the national periodical Ivoire Dimanchewith wide exposure.  Kodjo’s photographs, which also include candid shots of private events and fashion photography, echo the shifting social and familial dynamics as well as the renewal of the urban landscape shaped by modernist design and architecture.  The exhibition is curated by Isabel S. Wilcox and Lydie Diakhate.

Panel discussion: Saturday May 4^th, 2019/ 6:30 – 7:30 pm.

The cinematic eye of West African photographer Paul Kodjo: The Ivorian Miracle in the 1970’s.

Panelists: Ananias Leki Dago (photographer) and Antawan Byrd (curator and art historian)

Moderator: Claude Grunitzky (media and culture entrepreneur)

Location: Forum Room/1-54 at Industria, Manhattan

DISCOVER THROUGH MY PHOTOGRAPHS LIFE IN REMOTE PARTS OF KENYA 

HELP ME MAKE MEAK EYE MISSION IN KENYA CHANGE AS MANY LIVES AS POSSIBLE.

My 60th birthday is coming up on September 9th , two months from now and I have chosen to challenge myself. On October 1, 2017 I will join the MEAK medical team on an eye mission in Merti, Kenya followed by a 6 days walk in Kenya’s rugged Ndotos mountains. I have committed to help fund Meak’s eye mission where the medical team plans to restore the sight of over 200 patients. To donate find link to donation page at the end of the post.

Screening.

Post-op after two cataracts removed

Life in the bush

MEAK RESTORES SIGHT AND REPAIRS HEARTS. I have been an active supporter of MEAK’s work in Kenya for the last ten years and a witness to their life changing work as it organizes and funds medical and surgical missions often in remote areas of the bush where there is little access to health care. MEAK is caring, gutsy, lean, and very effective. You can find out more on MEAK by going to Meak.org.
I have a special fondness for Kenya. My family owned property there when I was a teenager and I have been going back every year for the last 13 years. Being there has helped me put my troubles in perspective for one and embrace humanity in a deeper and more inclusive way. In other words it repaired my heart and restored my sight !
Blindness has also touched my family in a very deep way. My Bulgarian grandfather became blind at the age of 11 and while he was able to become a famous composer he needed the constant help of his family and loved ones. Restoring eyesight allows the family to be more productive.
Please help me reach my goal of $10,000 and make my birthday memorable. For US citizens who wish to donate and want a tax letter I am collaborating with Eyes On Kenya a 501 (c) 3 US non for profit to fund MEAK’s mission. Please write a check to Eyes On Kenya and send it to Eyes On Kenya, 487 East Main Street, Suite 345, Mount Cisco, NY 10549-3420

 OR donate online.  Click on EYESONKENYA  and donate on the site. First put the amount and then select the payment option. 

ALL the funds raised will go directly to MEAK’s October eye mission. Any amount makes a difference!

I WISH YOU ALL A PEACEFUL, PRODUCTIVE, AND JOYFUL NEW YEAR !

Here are a few photographs  from my walk in the Ndotos in Norther Kenya that made me wonder in front of nature.

My attention during the end of the year 2016 has been focused on the election and post election circus in the USA where I live. At times I fantasize moving away!  Most of the times  I feel it is time to get more involved here where I live and do my bit in “my backyard”.

On the Africa front, the last couple of years I have wondered if some readers may view my postings and my perspective with some skepticism as I am a white woman from New York city with a good knowledge of art but I am not a professional in the field of African art and I am not from African descent.   This did not worry me much when I started the blog as so little was being written about African creativity and I felt that sharing my enthusiasm and encounters could only be positive. I was also quite clear that this blog was a personal undertaking and I often spoke of my experience as I encountered a different artistic approach to the one I was trained  in. I acknowledged my perspective and spoke of how I navigated this difference that at times challenged my preconceived ideas. I loved the challenge, learned a lot from this process and  became a better person for it. I learned to understand and respect and value another person’s perspective and experience  while at the same time standing in my own shoes. More then anything I met wonderful people, shared unforgettable moments and had a lot of fun.

The context has changed today. There are many experts in African contemporary art  based on the African continent or in the diaspora that are doing a fantastic job speaking, and writing about African art.  The word is out: Africa is a continent rich in creative talent.

Going forward, I thought it would be useful to list here several web based platforms that speak of African contemporary  topics such as art and culture, fashion, music, and current events. The emphasis of most of them are on latest trends in creativity in Africa and further illustrate its dynamic quality. Some of the sites are more focused on a young audience and aim to be “cool” , others provide more in depth analysis. Many of them were started about the same time I started my blog which is about 5 years ago with the same intent of changing the conversation around Africa.  Most of the writers are from African descent or based in Africa.  These platforms are a rich source of information and I highly recommend following them.

• Contemporary And (C &)
• Another Africa

These two are the closest to my blog in their focus on art and culture.

• Africa is a country

This platform has a much longer history, a much broader mandate and excellent writing. It’s focus is on writing, media criticism, video and photography.

• TRUEafrica
• OKAYAfrica

These two  have been very successful in reaching a broad young African audience, the fastest growing demographic segment in Africa. They have a content that aims to be “cool”  and covers the new trends in culture, art, music, fashion, sports, politics, tech innovations. They are a bit short in in-depth reporting.

• IAM-Intense

This is the web version of the new art magazine IAM.  It celebrates women in the fields of visual arts, fashion, design, and architecture in Africa ( mostly West Africa).  The bilingual content is directed to readers who speak French or English.

• Lagosphotofestival
• Dynamic Africa

With a singular focus on photography, these two sites provide valuable insight on the new developments in photography and video.

I hope you enjoy perusing them! I will not be posting as  much on this website but you can follow my art adventures and explorations on instagram @isabelshappeningafrica. I have joined the Tate Modern Africa Acquisition committee so expect some good stuff!!!

Congolese Artist Samuel Fosso’s photographic series ” African Spirits” has been added to MOMA’s permanent collection after a unanimous vote by the MOMA’s acquisition committee. This process has taken two years at least!!

It is fantastic and important series. Read more about it on my blog post of April 2013

A lot is happening on the Africa front. I went to Kenya for a couple of weeks this summer and spend a few days in Nairobi interviewing  a few key players and artists in an emerging East African art scene that is gaining momentum. I will report on this in my November Newsletter. In the meantime I have joined the Tate Modern African Acquisition committee so here I am off to the Netherlands and Belgium to visit several African artists studios. I will then go to London to see the third edition of the African fair 1:54. I plan to go home soon after that and not leave New York city for a bit because the jet lag is getting to me. Unfortunately I will miss the first edition of the new African Fair in Paris in November (Akaa fair) . No worries because next March at Art Paris, Africa is  the guest of honor !! I am really thrilled that African art is getting so much attention and that main stream galleries are increasingly taking African artists on. The talent is there though it may require one to open up to some new perspectives.

In the meantime here is a long list of exhibitions showing African artists in New York and London that you might want to check out if you find yourself in either city in September and October.

NEW YORK

The Expanded Subject: New Perspectives in Photographic Portraiture From Africa (Sammy Baloji, Mohamed Camara, Saidou Dicko and George Osodi).

Miriam and Ira D. Wallach Gallery, Columbia University

September 7 – December 10, 2016

 Meleko Mokgosi

Jack Shainman, 513 West 20^th Street

September 8 – October 22, 2016

 David Goldblatt

Pace/ MacGill Gallery

32 East 57^th Street

September 14 – October 29, 2016

 Recent Histories: New Photography from Africa

Walther Collection

526 West 26^th Street, Suite 718

September 22 – December 17, 2016

 Julie Mehretu

Marian Goodman

24 West 57^th Street

September 22 – October 29, 2016

LONDON

Samson Kambalu

Kate MacGArry

27 Old Nichol Street, E2 7HR

September 9 – October 15, 2016

 Lynette Yiadom-Boakye

Corvi-Mora

1A Kempsford road, SE11 4NU

September 9, 2016 onwards

Virginia Chihota

Tiwani Contemporary

16 Little Portland Street W1W8BP

September 16 to October 29, 2016

William Kentridge

Whitechapel Gallery

77-82 Whitechapel High Street, E1 7QX

September 21, 2016 to January 15, 2017

 Yinka Shonibare

Stephen Friedman

25-28 Burlington Street, W1S3AN

September 28 to November 5,2016

Njideka Akunyili-Cosby

Victoria Miro

16 Wharf Road, N1 7RW

October 4- November 5, 2016

 Emo de Medeiros

50 Goborne

50 Golborne Road, W10 5PR

October 5 –November 20, 2016

 Romuald Hazoume

October Gallery

25 Old Gloucester Street, WC1N3AL

October 7 to November 26, 2016

Joel Andrianomearisoa

Tyburn Gallery

26 Barrett St, W1U

October 4 – December 23, 2016

I love that even though I now spend my summers in Provence in an adorable house in the foothills of the Luberon I don’t have far to go to see good African art. The Photography Festival at Arles – Les Rencontres Internationales de la Photographie d’Arles – is an hour away and this year South African artist and activist Zanele Muholi curated with artist Walead Beshty the exhibition Systemically open?New Forms of Production of the Contemporary Image, which among other artists showed her latest body of work Somnyama Ngonyama (Hail, the Dark Lioness).

I encountered Muholi’s work in 2009 in South Africa and met her in Bamako during the Rencontres de Bamako. She was just starting to get known internationally for her work on the LBGTI community. Already an activist she was speaking up for this community that was greatly suffering from hate crimes in South Africa and beyond. At the time she was getting attention for a body of work, the Miss D’vine series. She photographed black queens and drag artists set in an “African” landscape.

“The photos examine how gender and queer identities and bodies are shaped by – but also resist, through their very existence – dominant notions of what it means to be black and feminine”. (Zanele Muholi, 2009). This series was visually alluring and conceptually provocative. I fancied more her photographs of gay women in their own homes. I liked how she captured these quiet private moments with tenderness bringing the viewer into their private world.

Simultaneously she was already working on a long term project, the series Faces and Phases where she documents members of the South African LBGTI community. The work is very different formally. Color had been reduced to black and white. All theatricality had been removed in favor of a formal and deadpan approach. Intent on giving visibility to a community that has suffered from being invisible her focus is unwavering as she imbues the women with a pregnant dignity. This series has received much international attention and praise.

I was familiar with the body of work being shown at Arles– a work of self-portraiture – but I was not expecting the huge scale of the display. Installed in one of the recently renovated Ateliers of the Luma space Zanele had had some of her photographs printed the size of the huge walls. Wow! There was no way of avoiding her unflinching gaze.

In this new body of work she turns the camera on herself. The work is essentially autobiographical. Born in Umlazi, Durban to a working class family (her South African mother was South African domestic worker and her Malawian father a day laborer) Muholi was at first a hairstylist and factory worker before embracing fully her artistic career. There is a theatrical aspect to the work as she uses props, such as materials she created herself and found objects, clothe pins, scouring pads, various hats, wigs to name a few which reference her experiences. She plays with the color of her skin, most of the time darkening it, “reclaiming her darkness” she says.

Unlike Samuel Fosso or Cindy Sherman she is not pretending to be someone else. On the contrary she is making herself vulnerable by exposing aspects of herself and her history, which has been shaped by South African political, cultural and social history. It is as if she is play acting in front of the mirror like I remember doing when I was younger but with great vulnerability as she exposes herself to herself, and to all of us. The result is a multifaceted Zanele, increasingly hard to pinpoint and because of that, that much more fascinating and endearing. All the while she is forcing her audience, us, to confront our own discomfort with some of her uncompromising exposure. Read here a description of her process.

“I have embarked on a discomforting self-defining journey, rethinking the culture of the selfie, self-representation and self-expression. I have investigated how photographers can question and deal with the body as material or mix it with objects to further aestheticise black personhood. My abiding concern is, can photographers look at themselves and question whom they are in society and the positions that they hold, and maintain these roles thereafter? ( Somnyama Ngonyama, Zanele Muholi, Stevenson).

Zanele Muholi was a little tardy for a scheduled talk during the opening week of the Arles festival. She eventually appeared, slowly moving towards the panel like a queen . She had an amazing hairdo almost 8 inches high above her head. I just loved that hard won self-assurance. What a great example!

The Lay of the Land at the Walther Collection in Chelsea, New York.

I was looking forward to this exhibition since my conversation with Mame –Diarra Niang in Arles about her recent body of photographic works Metropolis. I had first met her the previous year in Joburg at a cocktail party on the occasion of the art fair. While I had not yet seen her work I had liked her smarts, her erudition, and the way she spoke of her art in terms of her personal life experiences which spanned her life in France and many visits to her family’s home town in Cote d’Ivoire and later Dakar. A need to reckon with her feelings around her father and his history was something that struck a cord in me and I was eager to see her work at the time and was not disappointed when I did a few months later.

Her work deals with the cityscape in the process of modernization. It is also a metaphor for her evolving sense of identity, as she reckons with her history. More then a record of a place or “territoire” , it is her memory of a place that she captures in these images .

The photographs’ abstract quality was most impressive. Mame has an uncanny ability to present urban structures of all sorts as flat color planes organized in geometric patterns. It all happens in a flash as she takes her photographs quickly – At The Wall series and Metropolis were taken from a taxi as it was driving by – and she rarely feels she needs to rework them afterwards.

Her photographs are of a modest size and each one makes a subtle statement. Her three series were displayed together beautifully and with great effect. A new comer to the international art scene she held her own opposite Angolan photographer Edson Chagas’ work from his ongoing series Found Not Taken that brought him fame at the Venice Biennale in 2013.

The way he transforms the ordinary into a field of vibrant colors is very seductive yet it is his critique of global consumerism that give his work weight. Francois –Xavier Gbre’s constellation of sixty-three small-scale architectural photographs completes this contemporary take on the postcolonial African cityscape.

I was more familiar with his large architectural views of obsolete interiors, which I always found beautiful but left me ambivalent.

Here, however I found myself engrossed in each small architectural vignette loving the warm hues and the subtle play of the light as it touched the surfaces. The effect was wonderfully poetic: the images capture the passage of time in often time-worn urban structures.

All together this was a very well curated and hung show and a first of several exhibitions on contemporary and video art from Africa and the African Diaspora that will be held at the Walther Collection Project space in Chelsea.

The promise of African Youth:  Y’en a Marre holds the government accountable by getting thousands of young people to register to vote.

Produced by Edward Tyler Nahem and directed and co-produced by Elizabeth Chai Vasarhelyi, the film INCORRUPTIBLE documents the controversial presidential elections held in Senegal in 2012. Senegal was pitched into crisis when then sitting President Abdoulaye Wade decided unilaterally to rewrite the constitution to allow for a third term, upsetting what traditionally had been a more peaceful political landscape. A grass root artists youth movement made of rappers and journalists Y’en a Marre          (enough is enough), erupted to protect one of Africa’s oldest and most stable democracies. It called for the restoration of accountable representative democracy. What follows thrills, excites and inspires.

The film follows the main players of the 2012 election: incumbent President Wade, opposition candidate Macky Sall,  music superstar Youssou N’Dour, and the Y’en a Marre movement.

Unembellished and beautifully shot through a veritè lens, Incorruptible reads real and raw, as it serves to demonstrate what the youth of an African nation are capable of to preserve its democratic ideals, no matter how fierce, twisted and corrupt the opposition proves to be.

June 9th was its debut in the UK at the Sheffield doc/Fest and the North American debut is June 14 th at the Los Angeles Film Festival.

Contemporary African art at your door step:

NOT TO BE MISSED: Come and see  the galleries showing contemporary African art  at 1:54 at Pioneers Works in Red Hook in Brooklyn from May 14 to May 17.

The 1:54 team has put together a wonderful series of studio and museum visits and talks that are going to keep me quite busy next week. I have signed up for studio visits of artists: Ghada Amer, Ruby Onyinyechi Amanze, and Yashuo Klos ( I bought a work of his a few months ago from a French gallery Anne de Villepoix).  Several museums are also featuring African artists or of African descent. The Studio Museum of Harlem is showing Trenton Doyle Hancock; The Brooklyn Museum, Kehinde Wiley, Basquiat, and Zanele Muholi. The Newark Museum is showing the work of Hassan Hajjaj, and Georges Osodi.  Fortunately my daughter lives right next to the Pioneers works, a wonderful building with amazing views of Manhattan so I now have the perfect excuse to impose myself for dinner at her place.

I encourage you to take the shuttle from downtown Manhattan which will take you right near to the Pioneer building. It is a lovely ride!