The actors performed in a set covered in ‘Contact’ sheet which is sticky back plastic with a digital marble print found globally, I noticed it here in the U.S and in Nigeria. The script performed in the set combined product information and company history of Contact (including corruption and court cases) with an autobiographical origins story set in Nigeria. I was interested in looking at post-colonialism and the persistence of imperialisms through corporations.
The Time Travel Convention was an exhibition that explored time travel as a practical activity – something that does not necessarily require a machine, an advanced degree, or any other privileges. Using afrofuturism and the speculative as lenses, the exhibition featured time travel devices and objects from creators who use tools such as memory, dreams, imagination, manipulation of language and perception, light, and music to craft their temporal devices.
More photos at: https://www.facebook.com/AfroFuturistAffair
Featuring Time Machines from:
MMGz — PsychoAcoustics & Memory
Black Shesus — The Pyramid of Shesus
R.Phillips — Recurrence Plot (RP)
Kameelah Janan Rasheed — No Instructions of Assembly, Activation II
Alisha B. Wormsley — there are black people in the future
Mourl Ferryman — The Shadow and the Substance 2014
Melissa Moore — An Infinitygram: Diasporan Object Design For A New Future
Noni Red - everything begins within
brixton, march 2014
nana ocran is a writer based in london, specialising in contemporary african culture. she has written for arik air & time out lagos, as well as sat on juries for various international film festivals. in 2011, she was nominated for CNN’s prestigious african journalist of the year award.
it was great to spend time with nana as she showed me the sights of brixton. we talked about the creative arts in the diaspora, moving to Ghana and how to survive as a freelancer.
she updates her website, Words Sewn With An African Thread regularly.
Portraits of Accra City, My City
Photography by Ofoe Amegavie, 2014
Join us tomorrow for our second twitter chat this month, discussing Women Artists & Their Voices with Aida Muluneh and Nakeya Brown. 1 pm EST / 5 pm GMT / 8 pm EAT. Tweet your questions to us on @aadatart.
This weekend we’re jamming to dj100proof’s “Happy Mentality”, mixed from Pharrell’s hit “Happy” and Fela Kuti’s “Colonial Mentality”. Visit our Facebook page, listen, and tell us what you think! www.facebook.com/AADATArt
For contemporary Nigerian artist Jelili Atiku, art and violence occupy two counterparts of human existence: one fosters understanding and growth while the other produces only stagnation. Through his multimedia practice, involving drawing, installation sculpture, photography, video, and performance art, Atiku appeals to a general humanity in the hopes of bringing about an egalitarian society.
“Memory is repeatedly preserved by artist, whose work keeps the past alive.” (Ferris 1989: 78)
The fusion of African imagery within African-American art not only pays homage to the continent, but has also been an essential element in the remaking of the black identity. To appreciate black folk art, one must first understand the community in which it derives from, or historic legacy. The statements made by the artists, within their works are “closely linked to their black experience and repeatedly evolve the long memory of the elders and their remembered worlds” (Ferris 1989: 77).
Memories are the heart of the black community, passed down from one generation to the next. Whether through Negro Spirituals, hidden in African-American quilt patterns or coded in Ebonics, African-Americans have always found ways to share their stories, even under surveillance and opposition. But what happens when the past can no longer be remembered? Are artists allowed to look for inspiration within other countries and cultures? Or should they look deeper into their own past to visualize a future?