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A Collage of Constellations: “Now & Then…Here & There: Black Artists & Modernism”

A response by guest blogger Annie Jael Kwan

From 6-8 October 2016, BAM in partnership with Iniva presented the Now & Then…Here & There: Black Artists and Modernism conference at Chelsea College, University of the Arts, London and Tate Britain, alongside BAM leader Sonia Boyce’s curated exhibition, Now! Now!…in More Than One Place. The programme was extremely rich, and from which, the notion of “collage” and the imagining of “constellations” began to be mapped out in new, exciting ways.

Showing works from the 1940s from artists who are British, or who have lived, trained or worked in the UK, the exhibition aimed to provoke the viewer to re-think representations that are far too easily collapsed back into simplistic binary classifications in relation to race, sexuality and gender. The selection included diverse mediums, subjects, motifs and allusions, that the viewer may create multiple unexpected connections between works. For example, Ope Lori’s photographic work, After Newton (2012) depicting the insolent gazes of the three ‘white’ females, found a connection with Yeu-Lai Mo’s image Spitting (1996) made almost a decade earlier, where the gaze is also locked onto the eyes of the central figure whose sputum hits the lens. Similarly, the three channel video installation, It Is As If (2015) by Vong Phaophanit and Claire Oboussier, with its close-ups on unidentified arms and hands, and the landscape of Laos, the Thames and Mekong Rivers, found a parallel to Hetain Patel’s The Other Suit (2015), a four channel video installation whereby the male body is split and duplicated across four screens; at times a body in context of a living space, another, a performative body in the foreground.

Image: Yeu-Lai Mo, Spitting, 1996, colour photograph, 500 x 605mm. Image courtesy of the artist.

Apart from the obvious connection via mediums, the socio-political and spatial contexts of the works were disparate, and their being brought together, i.e. ‘collaged’ unexpectedly within the frame of the exhibition, created new possibilities for reading. In the accompanying Iniva publication, the editorial text also gestures towards Gaston Bachelard’s The Poetics of Space with the exhortation “of the need to circumvent the usual path, creating multiple lines of connection towards some moment in the future.”

Kobena Mercer’s keynote address provided a foundational context on which to situate these considerations with regards to Black artists, art-making and modernism. With close reference to the trajectories of transnational Black artists including Frank Bowling, Rashid Araeen, Anwar Shemza, Gavin Jantjes and so on, Mercer traced the transformations that took place from the late 1950s to 1960s, to the decolonial urges of the 1970s, the emergent Black British art practices in the late 1980s onwards, and the introduction of diasporic concerns in arts practice and criticism. He reaffirmed that “critical art is never a passive reflector of historical change, but is itself an active agent in the workings of the new, which is what modernism’s underlying impetus was all about to begin with.”

He asked a key question, “What does the blackness of Black Britishness stand for?”, with the reminder that “what purely empirical accounts lose sight of… are precisely the analytical tools that Stuart Hall gave us in the 1988 ‘New Ethnicities’ essay, when he pointed out that, as a collective identity position, the materials ‘black’ are made out of are discursive through and through.” With this consideration in mind, Mercer advocated again the principle of ‘collage’ as an aesthetic strategy for our contemporary lives “which are composed of heterogenous elements from multiple origins” and which can help “ask how our identities have themselves been collaged into history by contradictory forces.” Over the next two days, the motif of ‘collage’ as strategy would itself re-surface throughout the conference and became a helpful mode in grappling with the range of ideas explored in the conference.

The questions raised by Mercer regarding “Blackness” and identity were echoed in the session, Artists’ Practices with Permindar Kaur’s self-questioning, “Am I a Black artist?…What does that mean? Who defines it? And do I have a choice?“ and her reflection that “How people describe your work is important as it is how they see the work, if you are introduced as a Black Asian artist, people expect your work to be about identity.”  This resonated with Vong Phaophanit and Claire Oboussier’s presentation, especially when Phaophanit shared how his tutor had once declared to him, “You are Laotian… as a Laotian student, you should be making Laotian work or Laotian art.” Similarly, during the 1993 Turner Prize competition, art critic Brian Sewell raised in direct response to his nominated inclusion, that according to the rules, the prize was for British artists only.

If Kaur expressed uncertainty at the validity of her inclusion as a Black artist, Phaophanit’s biography has been used to constrain his practice and also exclude him. This reminded me of how when attending the 1998 conference Identity Papers: Undoing Asian Culture, it was specified to me directly by a presenter that for the purposes of the conference, the term ‘Asian’ would only mean “South Asian”. (This limited use is unusual and specific to the UK, which often bewilders those born in Asia major when told by arts and academic communities in the UK they are not considered Asian.)  More significantly, the programming of these presentations into the frame of “Black Artists” introduced different cultural coordinates that provided new territorial contours for consideration.

Image: Laura Castagnini leading breakout session at Tate Britain

The conference included a number of breakout sessions held within the Tate galleries, led by members of BAM (Anjalie Dalal-Clayton, Marlene Smith, David Dibosa, Paul Goodwin), Iniva (Laura Castagnini, Rohini Malik-Okon) and conference speakers (Rachel Garfield). In the breakout session I attended, led by BAM convenor David Dibosa, conference participants joined in a lively discussion over the presentation of works by BAM artists Donald Rodney and Eddie Chambers, which underlined how exhibition texts and the hang of the works reveal embedded institutionalized ideas of how the works are not described or merited on their own account, but usually linked to the post-colonial concerns and the artist’s racial biography. Particularly, Eddie Chamber’s Destruction of the National Front (1979–80), a work that illustrates collage without actually being so, is an acute reminder to look deeper and closer.

Image: Rohini Malik-Okon leading breakout session at Tate Britain

The theme of ‘collage’ was continued in the “Museology” session with Nick Aiken’s presentation where speaking of the Van Abbemuseum’s collection and exhibitions, he expounded on collage as a curatorial practice “reflective of different temporalities”. He advocated drawing upon the archive of collections to construct contrapuntal display, where one could extend the notion of assemblage even further with reference to Walter Benjamin’s use of “constellation of temporalities that can collapse the ‘here’ and ‘now’”. In this manner, exhibitions could provide constellations of positions that span time-frames, and would defy chronological framing and thus, fracture Eurocentric linear narratives and the white universalism of the white cube. Lucy Steeds, as respondent, pushed the question further as to whether the notion of ‘collage’ as strategy might also be useful in terms for “collecting” for the museum.

With reference to presentations in the Museology session, Kobena Mercer then asked the insightful question regarding how we reap the benefits of collage when currently, in research and critical thinking, there is a re-scribing of racial and cultural politics, and how might one reconcile this with a concurrent urge to return to formalist readings? Are both approaches negotiable in relation to the other?

Image: Irit Rogoff speaking in Critical Vocabularies session

These theoretical challenges were taken up in the ‘Critical Vocabularies’ segment (curated by Iniva) where Irit Rogoff observed that we are living in a “state between overlapping paradigms where we have difficulty locating oneself”, and hence we have a renewed necessity for an exploratory language that can express how we might traverse between the different paradigms whilst feeling the ‘pressure to inhabit them all at once’. She proposed the strategic concept of “jumping scale”, whereby one would take the reference, structure or framework from a small, specific study and scale it up to apply to broader paradigms, in an attempt to connect the specificity of the local and the broader perspective of the international.

Image: susan pui san lok speaking in Critical Vocabularies session

In parallel, susan pui san lok’s presentation of her artistic practice brought words flashing up rapidly on the screen; a sequence that demonstrated disconnection, subversion, breakage and re-formulation, against a manipulated montage of wuxia footage. These unexpected elements were collaged into the schema of “Black Artists” and in turn opened up new horizons with their unfixing of language and the inscribing of parallel constellations associated with contemporary Chinese performance art and Chinese filmmaking. This connection between constellations was an unexpected and tantalizing result for the conference, and opened up new pathways that only emphasizes the possibilities of new critical territories for “Black Artists” and Modernism.

Image: Panel discussion, Critical Vocabularies session

 

Annie Jael Kwan is an independent curator, writer, researcher and producer based in London. She trained in theatre arts, film and cultural theory at Goldsmiths College and then obtained a postgraduate qualification in Law. She has worked as producer and curator on numerous arts projects in the UK and internationally since 2005, working with major arts and cultural institutions, and international companies. She founded the curatorial partnership, Something Human, in 2012, to focus on her interests in the critical ideas and explorations surrounding movement across borders. Something Human has delivered projects in the UK, across Europe and in Singapore. She recently completed a curatorial research residency in Cambodia, with the support of the Artist’s International Development Fund from the British Council, ACE and NAC Singapore. She is currently undertaking a MA in History of Art and Archaeology at SOAS.

 

For more information on the Iniva/BAM collaboration, including conference documentation when it becomes available, please see here.

 

All images by George Torode, unless otherwise stated.

Iniva Director Melanie Keen reflects on her first year

There are many things which have happened in the past year at Iniva which are not visible to the naked eye. These are the things that make a difference to an organisation that’s undergoing a transformation. Some of those things are the ‘behind the scenes stuff’ that help the machine to crank into action everyday. The conversations with artists and curators. The conversations with trustees and the Iniva team. The conversations with partners and potential partners.

The thing that has got me determinedly out of bed every morning has been wanting to affirm the importance of artists, and the crucial role that Iniva plays in the development of their practices, now, in the past, and in the future. And part of that development is the way in which we can help create a critical context and achieve greater engagement with audiences. Thinking this through has been especially needed whilst Iniva undergoes a significant series of changes to the way we will programme and function.

Even before I was appointed, I had to imagine myself running Iniva. My two-stage interview, which included representatives from Iniva’s board, Arts Council England and the Supporters of Iniva, gave me the opportunity to test out my vision for the organisation. I understood that the incipient Iniva could be not be disentangled from the Iniva established in 1994, and the idea of working as agency or ‘a gallery without walls’ was part of its DNA. The difference now, and the thing which makes us unique as a visual arts organisation, is the vastly expanded Stuart Hall Library, a significant resource that anchors us to a physical and intellectual space giving context to much of our work. Established when Iniva was formed 22 years ago, the library harnesses the space of ‘the international’ in ways that are more apposite for today’s nimbler, leaner incarnation of Iniva.

This year has been one of trial and experimentation, with several developments contributing to what a new Iniva might look like:

In October 2015, we secured funding from Arts Council Collection which ensured that Keith Piper’s new work would be commissioned and become part of a national collection to commemorate its 70th anniversary. Our partnership with the Bluecoat in Liverpool heralds the beginning of a major touring exhibition for Keith and points to our recognition of the differing types of support artists need at different stages in their career. Keith’s importance as a pioneer of digital technologies in Britain, and as a key British artist who has influenced a generation of younger artists, cannot be understated.

Towards the end of the year, we awarded bursaries to a group of early career artists, curators and scholars to attend a conference, Artist and Empire at Tate Britain. The recipients made insightful and provocative contributions to the conversations that took place at the conference. This was followed up with a roundtable in the Stuart Hall Library to debate ideas around exhibition histories and imperialism, amongst others.

In January 2016, we realised our first artist in school residency that specifically used our Emotional Learning Cards with partners A Space and Oppossum Federation. An artist working alongside an art therapist in a classroom setting makes this residency distinct. Drawing connections between artists’ practice, visual literacy and wellbeing continues to be an important part of our work with children and young people.

In February, we applied to the Arts Council England Catalyst Evolve fund, a match-funding grant to help organisations with fundraising. We found out in June that we had been successful and our grant was the largest given to a London-based visual arts organisation. We’re working with our partner Pavilion to realise some combined fundraising activity across London and Leeds. The grant means that we will be able to 100% match fund any donations from individuals, trusts and foundations or sponsors received to support our artistic programme.

By April, Alia Syed’s iterative work On a Wing and a Prayer, had been installed in the Stuart Hall Library as part of an exhibition with fellow artist Nadia Perrotta and a larger project presented by Nirmal Purwar. Alia’s work drew its inspiration from John Berger and Jean Mohr’s book, A Seventh Man, first published in 1975. The book is an intense exploration of the individual and collective experience of migration. Alia’s work could not have been more timely or acutely and poetically reflective of the crisis within which humanity is immersed.

In June, we worked with the Black Artists and Modernism team at University of the Arts London and Middlesex University to present the Lubaina Himid Study Day in the Stuart Hall Library. This cemented our partnership which will unfold over the next year with the next step being the conference Now & Then, Here & There being held at Tate Britain in 6-8 October. Later this year, we will be convening another Study Day on artist Li Yuan Chia whose first monographic show was produced by Iniva in 2001.

In July, we announced our partnership with the Stuart Hall Foundation to collaborate on an artist’s residency which will take place in the library from January to March 2017. This residency marks the beginning of regular programming in the library that supports early career artists, curators and scholars through providing time and space opportunities. We’ve had a tremendous response to the open call and will announce the inaugural artist by the beginning of December.

In the past year, I’ve had colleagues sidle up to me to ask if we still need Iniva, if our mission is still relevant (the assumption being the art world is properly international now) and in some corners, it has been suggested that the Iniva project (whatever static venture that is) has failed. To my mind, they are curious to see how change will take place. I would argue that with the opportunity to reflect, refresh and renew, Iniva is needed now more than ever. I look around and wonder how different the world is, broadly, now from the moment of Iniva’s inception. Rebecca Solnit, in her recent book Hope in the Dark, reflects on Zhou Enlai’s famous quote on being asked, in the early 1970s, his response to the French Revolution. She argues that his answer ‘Too soon to tell’, whether on the revolution of 1789 or 1968, could be seen as a generous and expansive perspective that gives rise to more open-minded uncertainty than most people are able to tolerate.

What I see now is greater retrenchment in the wider developed world which has given rise to movements which shift public consciousness: Black Lives Matter being a potent one. The 2015 Report by the Warwick Commission and the Arts Council England’s Data report acknowledge this retrenchment specifically within the arts and culture in the UK. In a post-Brexit moment when the UK borders become more intransigent, there is as much apathy as there is opportunity to challenge and be challenged. If you read Stuart Hall’s essay “Black Diaspora Artists in Britain: Three Moments in Post-War History” (available in the Stuart Hall Library), you’ll gain firm insight into the intellectual grapple with a complex and changing terrain on the notion of difference which ‘continues – persistently – to register it’s disturbing effects.’ With London’s first Muslim mayor and Bristol’s first Black mayor, it’s clear that change can happen in small sharp bursts or it can stretch across decades. Whatever the span of time, the urge is to defy amnesia and never lose hope.

New film about our recent library exhibition

Alia Syed and Nadia Perrotta’s exhibition in the Stuart Hall Library responded to themes of migrant experience in John Berger and Jean Mohr’s novel A Seventh Man. Watch a video (below) about Alia Syed’s site-specific film installation On a Wing and a Prayer, which was on show in spring 2016.

For more information visit http://www.iniva.org/library/news/library_exhibition_and_new_video

Keith Piper completes new commission UnEarthing the Banker’s Bones


Image: Keith Piper, Unearthing the Bankers Bones (test installation), 2016.

Keith Piper has just unveiled his new artwork, UnEarthing the Banker’s Bones, a major commission acquired by the Arts Council Collection (ACC) to celebrate their 70th anniversary. The ACC commission, a partnership between Iniva and Bluecoat, was selected as a result of ACC’s open call to Arts Council England’s Visual Art National Portfolio Organisations to submit proposals to commission a new artwork. Last week, staff from all three organisations visited Keith’s studio in New Cross to view and officially ‘sign off’ the new work – a three screen video installation with sculptural elements encased in two vitrines – which was met with a celebratory round of applause.

Keith began working on UnEarthing the Banker’s Bones in September, when Iniva and Bluecoat learned that their joint proposal to Arts Council Collection for Keith’s commission was successful. Since then, Keith has been filming in various locations around England and working with an object fabricator, technical director, and a voice-over artist, to collect the work’s many layers of visual and research material that imagine the apocalyptic remnants of contemporary globalised capitalism. The looped video projection runs for approximately ten minutes, and is presented in five chapters: edge of the Anthropocene, the dark, the trickster, the map, and the relics. The work’s narrative is guided by a female voiceover, who calmly tells the story of two protagonists. We first learn of the Trickster, an elusive ‘shape-shifting android’ figure, who steps off the pages of an unfinished Octavia Butler novel and wanders into a post-apocalyptic vision of the future. Here, at the edge of the Anthropocene, the Trickster finds the remains of the second character: the Banker, a profiteering slave dealer, whose bones are laid in nearby vitrines on top of three large antique books entitled ‘The Banker’s Ledger’ (the book of what we took), ‘The Banker’s Inventory’ (the book of what we kept’ and ‘The Banker’s Journal’ (the book of how we took). These relics relate to an earlier encounter in which the Trickster showed the Banker an ‘upside down’ map of the world, presumably brought back from the future, that demonstrate contemporary migration patterns that ‘reroute the trade routes’ in search of the Banker’s ‘booty’. The Banker, perhaps unsurprisingly, shreds the map and locks its fragmented contents with a secret code. The film’s time-travelling narrative is complemented by eerily grey landscapes, such as the cold ocean’s lapping waves or a lone hooded figure wandering away from the city, but these images seem to appear as a set of possible associations rather than any direct illustration of the story.

Now, with UnEarthing the Banker’s Bones officially acquired by the Arts Council Collection, one might think Keith could take a holiday. Instead, over the coming months Keith will be developing another new work, a suite of drawings, as well as a new limited edition print for his major monographic exhibition, also entitled UnEarthing the Banker’s Bones, which will open at Bluecoat in late October. Iniva and Bluecoat will also be hard at work, developing plans to restage and reconfigure Keith’s iconic video installation Robot Bodies (2003-15) for the exhibition, and working on ideas for a symposium and other public programmes exploring race and science fiction. In addition, a substantial national and international tour is planned for the exhibition, which is Keith’s first major monographic show since Relocating the Remains in 1997 (produced by Iniva which toured to Ikon, Birmingham; National Gallery of Canada, Ontario; and New Museum, New York). In order to fulfil this ambitious project, we are also seeking passionate individuals to be part of the Unearthing the Bankers Bones – Exhibition Circle: a dedicated group of donors that will secure the legacy of this important exhibition.

The stories that make us

Lyn French (A Space, Director) reflects on how we make meanings out of our experiences and the unconscious agendas that influence the stories we tell ourselves and each other. The images referred to are from our Emotional Learning Cards sets ‘What do you feel?’ and ‘How do we live well with others?’. She has also produced art-based worksheets on the same theme for use in therapy sessions, the classroom, art workshops or at home, which you can download for free via the Iniva Creative Learning website. These worksheets are based on a project part-funded by Newport Primary School entitled ‘A Place for Conversation’ which was delivered by Iniva and A Space over the summer term 2014.

We all translate our experiences into language. This may take the form of a series of on-going conversations with others about what has happened in the past or accounts of our more recent experiences. Perhaps we speak most openly with a close friend or maybe with someone trained to listen and make sense of what has – or is – happening such as a counsellor, a psychotherapist or a creative therapist. Or we might digest our experiences in short ‘bite-sized’ chunks through emails and text. Maybe we share our stories on a blog with a number of people who provide a ‘listening ear’ and  respond by telling us about their similar experiences.

In this way, and through the stories we tell, we create our world. This is not so straightforward as it seems.  As authors of our own worlds, we can edit or re-write our stories to better suit how we want to represent ourselves. We may put a positive spin on an account of our lives to better match the picture we want to project of the kind of person we ‘d like to believe we are. This ‘creative licence’ can be unconscious and comes to the fore when we are reflecting on difficult experiences. None of us like to own up to our role in situations where things have turned out badly. If, for example, a relationship breaks up because our partner is spending more time with someone else, it is easy to label the partner as ‘the bad one’ and to win our friends’ sympathy by painting ourselves as a victim. No story is this simple. All of us have parts to play in every relationship. Break-ups happen for many complex reasons, some of which we are aware of and some we will be less conscious of.

We need to take care with the stories we tell ourselves and then share with others. Whenever we repeat an account of a significant experience, we are not only telling the other about it but also reinforcing our own version of events, often distorting the reality in subtle ways. We do this because we all have a vested interest in preserving our good image. None of us wants to feel guilt or shame about our behaviour or how we’ve treated someone else. It’s more comfortable to find an angle on the story which rationalises why we did what we did or said what we said in the heat of the moment, preferably an angle which clearly puts ‘the other’ in the wrong.

‘Right / wrong’ and ‘black & white’ thinking  avoids the complexities and ambiguities of thinking in shades of grey. Polarising like this only reinforces conflict.  If we can admit to our role in a difficult encounter, a space can open up that is less confrontational. It can make us feel exposed or vulnerable but this doesn’t have to be something to be avoided. Often, vulnerability generates compassion and diffuses animosity.

All of us have an inner ‘script’ running all the time. It takes the form of a commentary that is narrating our lives. This ‘self-talk’ can support more reality-based thinking or, conversely, reinforce negative thoughts about ourselves and others. A useful way to check your self-talk is to become conscious of what you are saying to yourself when you get something wrong or make an error in judgement. What is your inner ‘voice’ telling you? Do you say to yourself, ‘How could you be so stupid! Now you’ve gone and ruined things!‘  Or perhaps your ‘self-talk’ takes a different angle, commenting along the following lines: ‘That was the wrong thing to do!  I wonder how I can remedy the situation.  Maybe I just need to admit my mistake and take it from there.’

Bani Abidi’s series of photographs, 2008 (see above) puts communication center stage. By focusing in on these ‘devices’ Abidi makes us think about how we communicate with others and who we ‘let in’. We can extend this analogy and reflect on ‘what’ we let in as well as ‘who’. What stories about others or about ourselves do we choose to take in and believe as fact? If someone seems to be critical of our accent or how we look, or what we do, do we give their opinion more status than our own? Do we then feed a negative image of ourselves? Or do we say in our thoughts, ‘I hear your view but I don’t agree. I know who I am and I know my value.’

Families often edit stories from the past.  Perhaps relatives who have done well are given ‘star billing’ while others who have struggled or have been in trouble in some way are ‘erased’ from the family narrative.  Becoming conscious of what we let into our mind, how we frame our stories about self and other and how we use language is a vital life skill.  Unconscious prejudices and assumptions about   race, gender, class and culture are perpetuated in nuanced ways if we do not manage our thoughts and question our biases. We also need to take care with our self-image so that we avoid the extremes of either inflating our own image or denigrating ourselves. Language is the primary tool we have to construct our worlds and create and sustain healthy relationships with self and other. We need to use it mindfully.

Like the lamps arranged on the sideboard in Francis Upritchard’s image Grandma’s Lamps 2006 (above), we all share features in common with each other but we have differences too. The way we describe these differences to ourselves in our ‘self-talk’ may need to be monitored and perhaps gently challenged.

Did you like this blog? Download the free resource to accompany it The Stories that Make Us: exploring personal histories found within the resources tab on the Iniva Creative Learning website. For more on the project developed with Newport Primary School visit the Iniva learning project page.

 

“… We are the new internationalists.” A CREED FOR INIVA by Jack Tan

Review, revise, reconsider, re-vision
Review, revise, reconsider, re-vision
Review, revise, reconsider, re-vision

We sing a rhapsody in art.

We are the new internationalists.

We have defied our otherness and entered the modern space that was forbidden to us.

We declare a historical claim and challenge the defining frameworks by putting our experiences, perspectives and bodies here and in sight.
We are minorities that represent world majorities.
Together we redraw, repaint, rebuild, remake.
Between Us and Them
Between the West and the Rest
Between North and South
Between Margin and Centre
Redraw, repaint, rebuild, remake

We are the migrants’ home: a clearing in the forest, a camp in the desert, an island in the sea. We are the migrants’ destination – from home to home.

We see them. We see us. We see you. We see.

How do we see ourselves in an era of globalising tendencies?
How do we fit in or fit out?

We are the work of a plurality of cultures and cultural backgrounds.
We are the practice of a plurality of cultures and cultural backgrounds.
We are the daily routine of a plurality of cultures and cultural backgrounds.
We are work.
We are practice.
We are daily routine.

We appear at those difficult moments when the imagination fails, and when the mind goes blank, dealing with ignorance by creating new knowledge and understanding.

We are the new internationalists.

(The words of this Creed have been derived from the documents in the Iniva library and archives, and written for the Rites and Rituals series, Nov 2014.)

Alida Rodrigues: Anthologia

 

Alida Rodrigues, born in Angola in 1983 and based in London, will be showing and developing work in the Education Space from 2nd until 18th of October. Iniva is providing Rodrigues with an open studio to enable a dialogue with visitors and provide an opportunity for her to experiment with her practice. During this time, the public are invited to view both an existing and a developing body of work within the space.

As part of the residency the artist will take part in two public events; a public workshop on working with collage and process on Saturday 11th October and an In Conversation with the artist and ethnobotanist and visual anthropologist Dr Ricardo Leizaola on Saturday 18th October which will end the show.

Exhibition/Open Studio
Preview: 2 October 2014, 6:30 – 8:30pm
Dates: 2 October – 18 October 2014
Public Workshop: 11 October, 3-4.30pm
In Conversation: 18 October, 3-4.30pm
Venue: Education Space, Iniva, Rivington Place, London, EC2A 3BA
Opening hours: Tuesday- Saturday: 11am – 6pm
Admission: free
www.iniva.org

Introducing Scat: Sound and Collaboration

Artist Sonia Boyce introduces the exhibition Scat: Sound and Collaboration which runs until 27 July 2013 at Iniva.

Scat presents two immersive video works for the first time with The Devotional Collection, Boyce’s archive and collective memorialisation of black British women in the music industry. As a result, the exhibition places a spotlight on her interest in the archive as arts practice. ‘Just the very act of putting something in an archive suggests its future use is beyond the control of the past. But we don’t have to settle for the past as it is presented. The past is not fixed’.

Visit www.iniva.org to find out more.

Peter Clarke talks about the Ghetto Fence series

This is the fourth in a series of films of Peter Clarke talking about his work at the Wind Blowing on the Cape Flats exhibition. Here he talks about the works he collectively calls the ‘Ghetto Fence Series’.

Winter sun, Amsterdam

This is the third in a series of films of Peter Clarke talking about his work at the Wind Blowing on the Cape Flats exhibition. Here he talks about Winter sun, Amsterdam.