Podcast appearances and mentions of manthia diawara

Curator Sukanya Rajaratnam and biographer Jon Ott weld together African American culture and 20th century Western/European modernism, through Richard Hunt's 1956 sculpture, Hero's Head.Born on the South Side of Chicago, sculptor Richard Hunt (1935-2023) was immersed in the city's culture, politics, and architecture. At the major exhibition, Sculpture of the Twentieth Century, which travelled from the Museum of Modern Art (MoMA) in New York in 1953, he engaged with the works of artists Julio González, Pablo Picasso, and Constantin Brâncuși - encounters with Western/European modernism, that ‘catalysed' his use of metal, as the medium of his time and place.Hero's Head (1956), one of Richard's earliest mature works, was the first among many artistic responses dedicated to the legacy of Emmett Till. The previous year, Hunt joined over 100,000 mourners in attendance of the open-casket visitation of Till, a 14-year-old African American boy whose brutal lynching in Mississippi marked a seismic moment in national history. Modestly scaled to the dimensions of a human head, and delicately resting on a stainless-steel plinth, the welded steel sculpture preserves the image of Till's mutilated face. Composed of scrap metal parts, with dapples of burnished gold, it reflects the artist's use of found objects, and interest in ancient Greek and Roman mythology, which characterise his later works.With the first major European exhibition, and posthumous retrospective, of Richard's work at White Cube in London, curators Sukanya Rajaratnam and Jon Ott delve into the artist's prolific career. We critically discuss their diasporic engagement with cultural heritage; Richard collected over one thousand works of 'African art', referenced in sculptures like Dogonese (1985), and soon travelled to the continent for exhibitions like 10 Negro Artists from the US in Dakar, Senegal (1965). Jon details the reception of Richard's work, and engagement with the natural environment, connecting the ‘red soil' of Africa to agricultural plantations worked by Black slaves in southern America. We look at their work in a concurrent group exhibition at the Centre Pompidou, which retraces the presence and influence of Black artists in Paris, and considers the city as a ‘mobile site', highlighting the back-and-forth exchanges between artists, media, and movements like abstract expressionism. Shared forms are found in the works of French painters, Wangechi Mutu's Afrofuturist bronzes, and Richard's contemporaries practicing in France, Spain, Italy, and England.Plus, LeRonn P. Brooks, Curator at the Getty Research Institute, details Richard's ongoing legacies in public sculpture, and commemorations of those central to the Civil Rights Movement, including Martin Luther King Jr., Ida B. Wells-Barnett, Mary McLeod Bethune, Hobart Taylor Jr., and Jesse Owens.Richard Hunt: Metamorphosis is at White Cube Bermondsey in London until 29 June 2025.Paris Noir: Artistic circulations and anti-colonial resistance, 1950 – 2000 is at the Centre Pompidou in Paris until 30 June 2025.Listen to Sylvia Snowden at White Cube Paris, in the EMPIRE LINES episode on M Street (1978-1997).Hear more about Wangechi Mutu's This second dreamer (2017), with Ekow Eshun, curator of the touring exhibition, The Time is Always Now (2024).For more about Dogonese and ‘African masks' from Mali, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, part of ⁠PEACE FREQUENCIES 2023⁠.For more about ‘Negro Arts' exhibitions in Dakar, Senegal, read about Barbara Chase-Riboud: Infinite Folds at the Serpentine in London.For more about Black Southern Assemblage, hear Raina Lampkins-Felder, curator at the Souls Grown Deep Foundation and Royal Academy in London, on the Quiltmakers of Gee's Bend (20th Century-Now).

In this special episode, contemporary artist Sara Shamma paints experiences of conflict, modern slavery, and hopes for postwar reconstruction, travelling between Syria, Lebanon, and London, in their series, World Civil War Portraits (2015). *Content Warning* Syria has a ‘young' or ‘short' art history, in Western/European terms. The country's first galleries and art schools appeared in the 1960s, offering little contemporary arts education or practice. Working within - and rebelling against - these institutions, Damascus-born artist Sara Shamma taught themselves to paint ‘as an Old/Dutch Master', referencing the likes of Rembrandt and Rubens in their large-scale, expressive, portraits. In their 2023 exhibition, Bold Spirits, Sara's figurative paintings were displayed in conversation with these figures, at the Dulwich Picture Gallery in London. And now, 25 years after graduating, the artist returns to the National Museum of Damascus with a survey spanning their personal and artistic journeys through Lebanon and the UK in the twelve years since the start of the civil war. ‘I decided to keep one or two paintings from each project, to exhibit them all in Syria when the time was right,' says Sara. ‘Now, it's time for them to come home.' In this conversation from 2023, when Sara was still living in London, the artist describes her decades of migrations between Dulwich and Damascus. Sara first left Syria for work, in 2000, with exhibitions in Britain as part of the the BP Portrait Prize, and a British Council partnership with Coventry, a city she admires as a model for postwar reconstruction. In 2016, she relocated to London on an Exceptional Talent Visa but, during this period, she continued to travel to her homeland frequently, working from her studio in the city, and engaging with wider Arab art communities. Through global exhibitions, Sara is now one of Syria's most internationally recognised artists. We touch on Syria's changing position, as part of the Ottoman Empire and a French Mandate, during the 20th century, and the permeable borders that permitted her refuge in the years of President Bashar al-Assad's violent regime. Sara describes her interest in biology, visiting butchers and mortuaries during her studies, and their ‘surrealist eye' on everyday life. We discuss her research into modern slavery, trafficking, and rape cultures, speaking with women during their time as artist-in-residence with the Institute of Psychiatry, Psychology & Neuroscience at King's College London (KCL). Sara explains how she translates oral testimonies and traumatic experiences through her artistic practice, and why music is her universal language, travellling from Sufi Asia, to the blues of Bob Dylan and Leonard Cohen. This episode was recorded live as part of PEACE FREQUENCIES, a 24 hour live radio broadcast to mark International Human Rights Day in December 2023, and 75 years of the Universal Declaration of Human Rights. Listen back to the recordings with Manthia Diawara and Billy Gerard Frank online, and find all the information in the first Instagram post: instagram.com/p/C0mAnSuodAZ Sara Shamma: Bold Spirits ran at the Dulwich Picture Gallery in London until 25 February 2024. Sara Shamma: Echoes of 12 Years runs at the National Museum of Damascus until 31 January 2025. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

Curator Jo-Lene Ong walks through historic marketplaces across Taiwan, Paris, Devon, London, and Manchester, exchanging island mentality for more archipelagic thinking, via Steph Huang's sculptural installation, I Am in a Pretty Pickle (2024). Through works combining sculpture, sound, and film, contemporary artist Steph Huang explores mass production, consumption, and waste. She often focusses on the transcultural and historical dimensions of food industries, and the implications of such markets on our natural environment. Roaming the street markets of cities in Taiwan, where she was born, and London, where she lives and works, she also draws from their vernacular architectures, and different local cultures. Steph's first exhibition at Tate Britain in London sits near the river Thames, a boat ride away from Billingsgate, the UK's largest inland fish market; and in Manchester, at its historic Market Buildings, once part of the Victorian Smithfield Fish Market. Curator Jo-Lene Ong connects sculptural works like I Am in a Pretty Pickle (2024), with the Situationist International's practice of the dérive, repurposing objects collected through exploration. We situate her interest in wonder and playful approach to media with the likes of Haegue Yang, currently on view at the Hayward Gallery in London, and Rasheed Araeen, entwining the roles of cook and artist. We look at the traces of maritime trades and food industries on our everyday lives, and our relationship with ocean ecosystems, highlighting the legacies of colonialism in contemporary capitalism and climate crises. From esea contemporary's previous exhibitions of artists like Jane Jin Kaisen, Jo-Lene moves towards her particular interest in transmission, and more ‘watery ways of being' beyond borders, referencing Astrida Neimanis' hydrofeminism (2017) and looking to Sharjah Biennale 16 in 2025. We discuss ‘island travel' and ‘archipelagic thinking' as central to Steph's artistic, and Jo-Lene's curatorial, practices. Jo-Lene shares how her relationship with identity has been shaped by working in different contexts, from Malaysia, to Amsterdam, and the UK. We discuss the relative in/visibility of East and Southeast Asian (ESEA) identities in these different places - histories of Indonesia and the Dutch East Indies, and Malaysia, a British colony between the 1820s and 1957 - as well as the overlaps between Hokkein and Taiwanese languages, as variants or dialects of Chinese. Steph Huang: There is nothing old under the sun runs at esea contemporary in Manchester until 8 December 2024. The exhibition is part of the Mark Tanner Sculpture Award (MTSA)'s National Touring Programme, first exhibited at Standpoint in London in 2024. The exhibition will tour to Cross Lane Projects in Kendal in March 2025. An exhibition book of the same number launches at esea contemporary on 30 November 2024. Art Now: Steph Huang: See, See, Sea runs at Tate Britain in London until 5 January 2025. For more about archipelagos and Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠ For more from esea contemporary, hear Musquiqui Chihying, a recent artist-in-residence, on Too Loud a Dust (2023) at Tabula Rasa Gallery during London Gallery Weekend in 2023: pod.link/1533637675/episode/29b9e85442a30e487d8a7905356541dd PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: ⁠instagram.com/empirelinespodcast⁠ And Twitter: ⁠twitter.com/jelsofron/status/1306563558063271936⁠ Support EMPIRE LINES on Patreon: ⁠patreon.com/empirelines

In this special episode, artist Kedisha Coakley joins EMPIRE LINES live at the Hepworth Wakefield in West Yorkshire, connecting their work from Jamaican and Black diasporic communities across the UK, with their research into sculptor Ronald Moody, uncovering shared interests in Ancient Egypt, indigenous Caribbean cultures, and questions of restitution. Born in Brixton, and based in Sheffield, Kedisha Coakley's practice spans sculpture, glassmaking, and wallpaper printed with blocks of braided hair. Commissioned for an exhibition about Ronald Moody, one of the most significant artists working in 20th century Britain, their new installation is set between his large-scale figurative wood sculptures from the 1930s, and post-war experimentations with concrete and resin casting. From Kedisha's bronze afro-combs influenced by historic Taino cultures, we journey from objects held in the British Museum, to mahogany relief sculptures by major influences like Edna Manley. With audio transcripts, we discuss Moody's BBC radio broadcasts for Calling the West Indies produced by Una Marson, particularly ‘What is called Primitive Art?' (1949). Kedisha shares Moody's interest in primitivism, present in ancient Egyptian, Greek, Indian, and ‘oriental' Chinese cultural forms, as well as Gothic and Renaissance works from Western/Europe. We look at photographs from Kedisha's studio, exploring ‘African masks' in the work of European modernists like Man Ray and Pablo Picasso, and the often marginalised role of religion and spirituality in Black and diasporic art practices. Kedisha also details her wider practice in ‘Horticultural Appropriation', working with breadfruit, flowers, plants, and the natural environment, connecting with Moody's description of Jamaica's Blue Mountains and sea. We consider Moody's place in British art history, drawing from his contemporaries Barbara Hepworth, Henry Moore, Jacob Epstein, and Elizabeth Frink, as well as the group known as the Caribbean Artists Movement (CAM), of which Moody was a founding member.. As a self-described ‘mature student', we look at Kedisha's pursuit of independent, adult education, the role of market cultures and fashion, and the work of women taking care of history. This episode was recorded live at Ronald Moody: Sculpting Life, an exhibition at the Hepworth Wakefield in West Yorkshire, in October 2024. The exhibition runs until 3 November 2024: hepworthwakefield.org/whats-on/kedisha-coakley-and-empire-lines-live-podcast-recording/ Hear more about Kedisha's work around ‘Horticultural Appropriation' with Ashish Ghadiali, curator of Against Apartheid (2023) at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more about the Caribbean Artists Movement (CAM), listen to curator Rose Sinclair in the episode on Althea McNish's Batchelor Girl's Room (1966/2022), recreated at the William Morris Gallery in London: pod.link/1533637675/episode/953b78149a969255d6106fb60c16982b On post-war ‘British' art and sculpture, read about Egon Altdorf: Reaching for the Light at the Henry Moore Institute in Leeds, in gowithYamo: gowithyamo.com/blog/postwar-modernism-egon-altdorf-at-the-henry-moore-institute Hear from artist Yinka Shonibare, in the episode on Decolonised Structures (Queen Victoria (2022-2023) at the Serpentine in London: pod.link/1533637675/episode/01fffb739a1bd9f84f930ce41ee31676 On the globalisation of ‘African' masks, listen to curator Osei Bonsu on Edson Chagas' photographic series, Tipo Passe (2014-2023), in the episode about Ndidi Dike's A History of A City in a Box (2019) at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 And for more about Édouard Glissant, listen to ⁠Manthia Diawara⁠, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist ⁠Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019)⁠, part of ⁠PEACE FREQUENCIES 2023⁠: ⁠instagram.com/p/C0mAnSuodAZ⁠

A artista moçambicana Eurídice Zaituna Kala desconstrói a imagem de Nova Iorque e até do “sonho americano” numa exposição patente na Galeria Anne Barrault, em Paris. As fotografias montadas em estruturas de vidro e metal mostram ausências, desigualdades, relações de poder entre os homens e entre estes e a natureza. Eurídice Zaituna Kala mostra como a arquitectura é mais uma ferramenta de implementação de disparidades sociais e como a cidade vai tapando as camadas do seu próprio passado. A exposição "En quelques gestes : as if two suns were setting", patente até 5 de Outubro, é constituída por obras realizadas durante uma residência em Nova Iorque e questiona o peso que a arquitectura urbana tem sobre a natureza e sobre as próprias pessoas.“Quando propus um projecto de pesquisa para ir a Nova Iorque, era para olhar para a arquitectura. Para olhar como a arquitectura, de uma forma violenta, ocupa o espaço natural e cria uma sensação de betão (...) Eu queria desconstruir essa noção e, ao mesmo tempo, olhar para os arquivos: como é que a cidade foi ocupada na época pré-colonial, no pós-guerra, no pós-Segunda Guerra Mundial, que tipos de arquitectura chegaram. E como eu tenho, na materialidade do meu trabalho, materiais como o metal e o vidro, era claro que eu queria entrar também nessa noção de como esses materiais interagem com a cidade. Quais são as janelas que esses materiais criam? Quais são os ecrãs que eles criam? Como é que esses objectos obstruem a possibilidade de comunicar uns com os outros? Em Nova Iorque, tu passas em frente a um prédio e tens a sensação que não podes interagir com as pessoas que estão no interior. Quer dizer, a interioridade é completamente coberta, submersa, a partir desses materiais”, descreve a artista.Continuando as suas pesquisas em torno dos arquivos, a artista moçambicana estudou as raízes da cidade, originalmente habitada pelo povo autóctone Lenapes e desenhada com várias colinas e rios, hoje substituídos por arranha-céus. “Havia uma natureza, uma fauna ou uma flora que esteve lá antes de uma colonização violenta que mudou completamente a topografia da cidade”, recorda. Por outro lado, ela interessou-se pela relação entre Nova Iorque e a água, um elemento que outrora dominava a paisagem e que passou a ser dominado pelas ambições arquitectónicas.“Chegar a Nova Iorque e falar em água é quase impossível. Nós imaginamos sempre uma cidade de betão, tudo coberto, tudo numa submersão, socialmente falando, uma submersão humana, densa. Mas a história topográfica de Nova Iorque é completamente oposta a essas paisagens que nós temos do nosso imaginário. Nessa oposição, tem a água que foi coberta pela arquitectura num plano de urbanização do Robert Moses, que veio obstruir essas fontes de água que atravessavam Manhattan, Brooklyn, Bronx para criar espaços de construção”, acrescenta.Eurídice Zaituna Kala também explorou o conceito da arquitectura contemporânea como “soft power”, em que os arranha-céus luxuosos olham de cima para os prédios sociais, os quais são reservados aos pobres e sujeitos à subida das águas durante as inundações.“Isso foi também um dos contextos que me interessava muito compreender. Eu tive a oportunidade de subir ao andar 86 de uma torre e de viver essa experiência. Foi super estranho porque são espaços que são vendidos muito caros e que representam um contexto de arquitectura, mas, ao mesmo tempo, representam um contexto de consumo espacial, um contexto de movimento, de liquidez de espaço. Quis compreender o que quer dizer essa disparidade entre esses prédios que hoje em dia são vendidos muito caros e os prédios sociais porque Nova Iorque é uma cidade de prédios, sempre teve uma relação com a verticalidade. Os prédios sociais que foram construídos para as famílias menos ricas são também arranha-céus, mas criaram uma completa desconexão entre gerações de famílias que não puderam entrar em relação, que causaram questões sociais complexas, criminalidade, uso de drogas, etc, etc. Quer dizer, esses dois contextos propõem duas formas de criar sociedade”, continua.Outra linha de força da exposição são as ausências, figuradas por vidros sem imagens ou pelo simbólico capuz vazio de uma camisola encontrada numa rua qualquer. Esta é também uma homenagem ao jovem negro assassinado Trayvon Martin, ao movimento Black Lives Matter e ao artista David Hammons.Há, ainda, uma imagem criada por Inteligência Artificial que ilustra os próprios limites da tecnologia, ainda que crie uma nova camada que tende para a abstração pictórica e fotográfica. Eurídice Zaituna Kala recolheu textos inscritos em monumentos de Nova Iorque a prestarem homenagem ao povo autóctone que, outrora, viveu naquela zona e pediu à Inteligência Artificial para criar imagens. O resultado são duas imagens sobrepostas, em que se percebe uma paisagem verde luxuriante e vários espectros pálidos.Na segunda sala, há fotografias em tons azulados que remetem, mais uma vez, para o universo da água, mas também para o imaginário cinematográfico de Nova Iorque. A artista conta-nos que se inspirou nos tons do filme “La Nuit Américaine” de François Truffaut para mostrar que a sensação de se estar numa "cidade que não dorme" pode ser esgotante e uma metáfora de que o “sonho americano” é impossível.“Tem uma certa referência a “La Nuit Américaine”, que é este filtro usado no cinema que projecta uma sensação de noite, uma sensação de estar no exterior, de uma continuidade do dia. Eu acho que Nova Iorque tem essa forma de se querer projectar como algo que não acaba, como um dia que não acaba. Há também a questão do conceito americano que fala do sonho americano porque se o dia não acaba e se não podemos descansar, quer dizer que não temos tempo para sonhar! Ou seja, o fim desse sonho americano é mesmo uma consciência de como vivemos nestas cidades”, conclui.É a primeira vez que a Galeria Anne Barrault acolhe uma exposição a solo de Eurídice Zaituna Kala, depois de ter apresentado uma obra dela no Jardim das Tulherias, na FIAC Hors Les Murs, em 2021.“É verdade que a obra dela tem uma vertente de denúncia, mas é mais do que isso. Nesta exposição vemos – e é bastante impressionante –várias camadas e há um lado pictórico muito presente. Ou seja, podemos abordar o trabalho dela de diferentes maneiras. Claro que ela fala das suas origens, da colonização, mas não fala só sobre isso. Por isso é tão interessante este trabalho na cidade de Nova Iorque, que não é a cidade onde ela cresceu, mas ela cria elos com a sua própria história, com Moçambique que também foi colonizado e com a América que é também um território que foi colonizado. Estes paralelos são apaixonantes e permitem olhar para o seu trabalho sob diferentes ângulos”, descreveu Anne Barrault à RFI.No âmbito desta exposição, inaugurada a 31 de Agosto e que decorre até 5 de Outubro, Eurídice Zaituna Kala teve "carta branca" do Cinema L'Archipel em Paris para apresentar um filme a 3 de Setembro e escolheu "AI: African Intelligence" de Manthia Diawara.Actualmente, a artista participa na exposição "Passengers in Transit" à margem da Bienal de Veneza (até 24 de Novembro de 2024). Em 2025, Eurídice Zaituna Kala vai apresentar o seu trabalho no Centro de Arte Contemporâneo de Rennes (La Criée) de 7 de Fevereiro a 27 de Abril e vai também ter uma exposição na Ferme du Buisson, em Noisiel, de 15 de Março a 13 de Julho.

A artista moçambicana Eurídice Zaituna Kala desconstrói a imagem de Nova Iorque e até do “sonho americano” numa exposição patente na Galeria Anne Barrault, em Paris. As fotografias montadas em estruturas de vidro e metal mostram ausências, desigualdades, relações de poder entre os homens e entre estes e a natureza. Eurídice Zaituna Kala mostra como a arquitectura é mais uma ferramenta de implementação de disparidades sociais e como a cidade vai tapando as camadas do seu próprio passado. A exposição "En quelques gestes : as if two suns were setting", patente até 5 de Outubro, é constituída por obras realizadas durante uma residência em Nova Iorque e questiona o peso que a arquitectura urbana tem sobre a natureza e sobre as próprias pessoas.“Quando propus um projecto de pesquisa para ir a Nova Iorque, era para olhar para a arquitectura. Para olhar como a arquitectura, de uma forma violenta, ocupa o espaço natural e cria uma sensação de betão (...) Eu queria desconstruir essa noção e, ao mesmo tempo, olhar para os arquivos: como é que a cidade foi ocupada na época pré-colonial, no pós-guerra, no pós-Segunda Guerra Mundial, que tipos de arquitectura chegaram. E como eu tenho, na materialidade do meu trabalho, materiais como o metal e o vidro, era claro que eu queria entrar também nessa noção de como esses materiais interagem com a cidade. Quais são as janelas que esses materiais criam? Quais são os ecrãs que eles criam? Como é que esses objectos obstruem a possibilidade de comunicar uns com os outros? Em Nova Iorque, tu passas em frente a um prédio e tens a sensação que não podes interagir com as pessoas que estão no interior. Quer dizer, a interioridade é completamente coberta, submersa, a partir desses materiais”, descreve a artista.Continuando as suas pesquisas em torno dos arquivos, a artista moçambicana estudou as raízes da cidade, originalmente habitada pelo povo autóctone Lenapes e desenhada com várias colinas e rios, hoje substituídos por arranha-céus. “Havia uma natureza, uma fauna ou uma flora que esteve lá antes de uma colonização violenta que mudou completamente a topografia da cidade”, recorda. Por outro lado, ela interessou-se pela relação entre Nova Iorque e a água, um elemento que outrora dominava a paisagem e que passou a ser dominado pelas ambições arquitectónicas.“Chegar a Nova Iorque e falar em água é quase impossível. Nós imaginamos sempre uma cidade de betão, tudo coberto, tudo numa submersão, socialmente falando, uma submersão humana, densa. Mas a história topográfica de Nova Iorque é completamente oposta a essas paisagens que nós temos do nosso imaginário. Nessa oposição, tem a água que foi coberta pela arquitectura num plano de urbanização do Robert Moses, que veio obstruir essas fontes de água que atravessavam Manhattan, Brooklyn, Bronx para criar espaços de construção”, acrescenta.Eurídice Zaituna Kala também explorou o conceito da arquitectura contemporânea como “soft power”, em que os arranha-céus luxuosos olham de cima para os prédios sociais, os quais são reservados aos pobres e sujeitos à subida das águas durante as inundações.“Isso foi também um dos contextos que me interessava muito compreender. Eu tive a oportunidade de subir ao andar 86 de uma torre e de viver essa experiência. Foi super estranho porque são espaços que são vendidos muito caros e que representam um contexto de arquitectura, mas, ao mesmo tempo, representam um contexto de consumo espacial, um contexto de movimento, de liquidez de espaço. Quis compreender o que quer dizer essa disparidade entre esses prédios que hoje em dia são vendidos muito caros e os prédios sociais porque Nova Iorque é uma cidade de prédios, sempre teve uma relação com a verticalidade. Os prédios sociais que foram construídos para as famílias menos ricas são também arranha-céus, mas criaram uma completa desconexão entre gerações de famílias que não puderam entrar em relação, que causaram questões sociais complexas, criminalidade, uso de drogas, etc, etc. Quer dizer, esses dois contextos propõem duas formas de criar sociedade”, continua.Outra linha de força da exposição são as ausências, figuradas por vidros sem imagens ou pelo simbólico capuz vazio de uma camisola encontrada numa rua qualquer. Esta é também uma homenagem ao jovem negro assassinado Trayvon Martin, ao movimento Black Lives Matter e ao artista David Hammons.Há, ainda, uma imagem criada por Inteligência Artificial que ilustra os próprios limites da tecnologia, ainda que crie uma nova camada que tende para a abstração pictórica e fotográfica. Eurídice Zaituna Kala recolheu textos inscritos em monumentos de Nova Iorque a prestarem homenagem ao povo autóctone que, outrora, viveu naquela zona e pediu à Inteligência Artificial para criar imagens. O resultado são duas imagens sobrepostas, em que se percebe uma paisagem verde luxuriante e vários espectros pálidos.Na segunda sala, há fotografias em tons azulados que remetem, mais uma vez, para o universo da água, mas também para o imaginário cinematográfico de Nova Iorque. A artista conta-nos que se inspirou nos tons do filme “La Nuit Américaine” de François Truffaut para mostrar que a sensação de se estar numa "cidade que não dorme" pode ser esgotante e uma metáfora de que o “sonho americano” é impossível.“Tem uma certa referência a “La Nuit Américaine”, que é este filtro usado no cinema que projecta uma sensação de noite, uma sensação de estar no exterior, de uma continuidade do dia. Eu acho que Nova Iorque tem essa forma de se querer projectar como algo que não acaba, como um dia que não acaba. Há também a questão do conceito americano que fala do sonho americano porque se o dia não acaba e se não podemos descansar, quer dizer que não temos tempo para sonhar! Ou seja, o fim desse sonho americano é mesmo uma consciência de como vivemos nestas cidades”, conclui.É a primeira vez que a Galeria Anne Barrault acolhe uma exposição a solo de Eurídice Zaituna Kala, depois de ter apresentado uma obra dela no Jardim das Tulherias, na FIAC Hors Les Murs, em 2021.“É verdade que a obra dela tem uma vertente de denúncia, mas é mais do que isso. Nesta exposição vemos – e é bastante impressionante –várias camadas e há um lado pictórico muito presente. Ou seja, podemos abordar o trabalho dela de diferentes maneiras. Claro que ela fala das suas origens, da colonização, mas não fala só sobre isso. Por isso é tão interessante este trabalho na cidade de Nova Iorque, que não é a cidade onde ela cresceu, mas ela cria elos com a sua própria história, com Moçambique que também foi colonizado e com a América que é também um território que foi colonizado. Estes paralelos são apaixonantes e permitem olhar para o seu trabalho sob diferentes ângulos”, descreveu Anne Barrault à RFI.No âmbito desta exposição, inaugurada a 31 de Agosto e que decorre até 5 de Outubro, Eurídice Zaituna Kala teve "carta branca" do Cinema L'Archipel em Paris para apresentar um filme a 3 de Setembro e escolheu "AI: African Intelligence" de Manthia Diawara.Actualmente, a artista participa na exposição "Passengers in Transit" à margem da Bienal de Veneza (até 24 de Novembro de 2024). Em 2025, Eurídice Zaituna Kala vai apresentar o seu trabalho no Centro de Arte Contemporâneo de Rennes (La Criée) de 7 de Fevereiro a 27 de Abril e vai também ter uma exposição na Ferme du Buisson, em Noisiel, de 15 de Março a 13 de Julho.

Contemporary and performance artist Paul Maheke moves between France, Congo, and Canada, exploring the ‘archive of their body' through drawing and dance, via Taboo Durag (2021). To Be Blindly Hopeful emerged from the very last sentence of a journal that Paul Maheke kept between August 2020 and June 2021, capturing the turbulence of the COVID pandemic. Central to Maheke's practice is a delicate dance between the individual and the collective, personal and broader sociopolitical contexts, echoing the sentiment expressed by bell hooks, who reminds us that ‘the space of our lack is also the space of possibility.' Currently based in France, Paul shares works 'staged' in previous exhibitions at South London Gallery, Chisenhale Gallery, and Tate Modern, highlighting how the ‘new' drawings, prints, book illustrations, and paintings on display here have long formed part of his practice. He explains how performance and dance can be both emancipatory and trapping, with respect to queerness, masculinity and gender, and the reality of being ‘brown body looked at my white audience' - drawing on his lifelong admiration for the French-born ice skater, Surya Bonaly. We discuss Paul's popular culture and academic Influences like Grace Jones and Félix González-Torres, Audre Lorde and Édouard Glissant, and Bruce Nauman to Paul B. Preciado - not as icons but real, complex people. Finally, Paul highlights how his work changes in its global travels, from the Baltic Triennale in Estonia, to Johanneburg, South Africa - and, drawing on collaborations with family members and fellow artist Melika Ngombe Kolongo (Nkisi) for the Congo Biennale in 2021, his personal relationship with arts institutions on the continent, as a diasporic artist. ⁠Paul Maheke: To Be Blindly Hopeful⁠ runs at MOSTYN, Wales until 29 June 2024. It includes Taboo Durag (2021), produced as a performance to camera for ⁠Glasgow International⁠ 2021. This episode marks this iteration of Scotland's biennale festival of contemporary art, which continues until 23 June 2024.** Paul has also shown work as part of the ⁠Diaspora Pavilion at the 58th Venice Biennale in 2019⁠, the first to feature an official performance programme co-produced with the Delfina Foundation, and has work in the ⁠Drawing Biennal 2024⁠, which runs at the Drawing Room in London until 3 July 2024. For another of Paul's collaborators, listen to Barby Asante's Declaration of Independence (2023), performed as part of Art on the Underground in London: pod.link/1533637675/episode/aa2803b68933ab974ca584cf6a18479c For another exhibition from MOSTYN, hear artist and curator Taloi Havini on Habitat (2017) and Artes Mundi 10: pod.link/1533637675/episode/e30bd079e3b389a1d7e68f5e2937a797 For more about bell hooks, listen to Professor Paul Gilroy, on The Black Atlantic (1993-Now): pod.link/1533637675/episode/90a9fc4efeef69e879b7b77e79659f3f And for more about Édouard Glissant, listen to Manthia Diawara, co-curator of The Trembling Museum at the Hunterian in Glasgow, and artist Billy Gerard Frank on Palimpsest: Tales Spun From Sea And Memories (2019), part of PEACE FREQUENCIES 2023.: instagram.com/p/C0mAnSuodAZ/?img_index=1 PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

Max Pearson presents a collection of this week's Witness History stories. We focus on some of the world's best known photographs - and the photographers who took them. We find out why Lee Miller was in Hitler's bath in the dying days of World War Two; and historian Dr Pippa Oldfield discusses the women who were the pioneers of war photography. Also, Sir Don McCullin tells the story behind one of his most famous images of the Vietnam War. Plus, more on the party pictures that shone a light on an unseen Africa and how the biggest names in jazz came together for one immortal portrait. Finally, the first African American woman to have her photographs snapped up by New York's Museum of Modern Art. Contributors: Antony Penrose, Lee Miller's son and biographer Sir Don McCullin, photographer Dr Pippa Oldfield, photo-historian Manthia Diawara, filmmaker Jonathan Kane, son of photographer Art Kane Ming Smith, photographer (Photo: Grace Jones. Studio 54, New York, 1970s. Credit: Ming Smith)

The Malian photographer, Malick Sidibé, is one of Africa's most celebrated artists. His most famous photographs show black and white scenes of young people partying in the capital Bamako in the joyful, confident era after Mali's independence from France in 1960. In the 1990s, a chance encounter with a French curator brought Sidibé's work international acclaim. The wider world had been used to seeing a narrow range of images from Africa, so when Sidibé's work went on show in Western galleries, audiences were stunned by the exuberant world they revealed. In 2022, Manthia Diawara, the Malian filmmaker and professor at New York University, who knew Malick when he was a roving nightlife photographer spoke, to Viv Jones. (Photo: Danser le Twist, 1963 by Malick Sidibé. Credit: Galerie MAGNIN-A, Paris)

Greetings Glocal Citizens! This week on the podcast we have another two-part conversation, with one of Ghana's foremost creative culture practitioners. Aseye Tamakloe is a filmmaker and lecturer at the National Film and Television Institute (NAFTI) and a PhD candidate at the Institute of African Studies, University of Ghana Legon - both in Accra. She has worked as editor, director and producer on a number of local and international productions. As a freelance editor, her works include, award-winning films such as Perfect Picture, by Shirley Frimpong–Manso, Chronicles of Odumkrom:The Headmaster, by Ernest Kofi Abbeyquaye, Who is Afraid of Ngugi by Malian filmmaker, Manthia Diawara, and Freetown by US filmmaker, Garret Barty. She is a co-programmer for the Film Africa Festival, London's biggest celebration of African and African diaspora cinema presented by the Royal African Society. She was also the Festival Manager and Director of the European Film Festival, Ghana. (EUFFGH). She is the founder and festival director of Ndiva Women's Film Festival which aims to create artistic platforms for the presentation and preservation of work by, for and about women. And, most recently she is director and editor of the documentary film When Women Speak. Keep reading for a wealth of further insights into topics discussed during our conversation. I learned so much about African cinema history and present, and I have a feeling from this session with this Glocal Citizen, you will too! Where to find Aseye? When Women Speak Film (https://whenwomenspeakfilm.com) On LinkedIn (linkedin.com/in/aseye-tamakloe-28729a2a) On Instagram (https://www.instagram.com/aseyetamakloe/?hl=en) On Facebook (https://www.facebook.com/aseye.tamakloe) On Twitter (https://twitter.com/tamakloeaseye?lang=en-GB) On YouTube (https://www.youtube.com/@aseyetamakloe8408) Who is Aseye reading? Paulo Coelho (https://en.wikipedia.org/wiki/Paulo_Coelho) Ama Ata Aidoo (https://en.wikipedia.org/wiki/Ama_Ata_Aidoo) Kofi Awoonor ((https://en.wikipedia.org/wiki/Kofi_Awoonor) Leila Aboulela (https://leila-aboulela.com/about/) Okyeame Literary Magazine (https://en.wikipedia.org/wiki/Okyeame) Toni Morrison (https://www.oprahdaily.com/entertainment/books/a26536741/best-toni-morrison-books/) Chimamanda Ngozi Adichie (https://www.chimamanda.com) The Kite Runner (https://a.co/d/gdDjljF) by Khaled Hosseini Who is Aseye listening to? Culture (http://www.culturereggaeband.com) Amakye Dede (https://en.wikipedia.org/wiki/Amakye_Dede) Opera Greats (https://hellomusictheory.com/learn/famous-opera-singers/) Other topics of interest: Film, Form and Culture (https://a.co/d/5Kd7LTu) by Robert Kolker Alice Guy-Blaché (https://en.wikipedia.org/wiki/Alice_Guy-Blach%C3%A9) D.W. Griffith (https://en.wikipedia.org/wiki/D._W._Griffith) Mr. Mensah Builds a House (https://www.youtube.com/watch?v=OHExt9bN1aU) The Boy Kumasenu (https://www.youtube.com/watch?v=dAPK8xJgpoU) GFIC - Ghana Film Industry Corporation (https://en.wikipedia.org/wiki/Cinema_of_Ghana) 1966 Coup d'Etat in Ghana (https://www.ghanaweb.com/GhanaHomePage/NewsArchive/Today-in-History-Ghana-s-first-coup-Nkrumah-s-overthrow-in-1966-875797) Hamile: The Tongo Hamlet (https://archive.org/details/hamile-pt-1) I Told You So (https://www.youtube.com/watch?v=QsWRRg02TlM) Five Fingers for Marseilles (https://www.imdb.com/title/tt2396489/) Ghana Academy of Film and Television Arts (https://www.facebook.com/theghanaacademy/) Fescpaco (https://fespaco.org/en/fespaco/) Black Star International Film Festival (https://www.bsiff.org) NCWD in action (https://www.un.org/womenwatch/daw/followup/responses/Ghana.pdf) Gen Z (Zoomers) vs Millennials (https://greekreporter.com/2022/09/23/genz-vs-millenials/) Abantu Ghana (https://abantu-rowa.com") About Desiderata Poem (https://www.desiderata.com) Special Guest: Aseye Tamakloe.

Greetings Glocal Citizens! This week on the podcast we have another two-part conversation, with one of Ghana's foremost creative culture practitioners. Aseye Tamakloe is a filmmaker and lecturer at the National Film and Television Institute (NAFTI) and a PhD candidate at the Institute of African Studies, University of Ghana Legon - both in Accra. She has worked as editor, director and producer on a number of local and international productions. As a freelance editor, her works include, award-winning films such as Perfect Picture, by Shirley Frimpong–Manso, Chronicles of Odumkrom:The Headmaster, by Ernest Kofi Abbeyquaye, Who is Afraid of Ngugi by Malian filmmaker, Manthia Diawara, and Freetown by US filmmaker, Garret Barty. She is a co-programmer for the Film Africa Festival, London's biggest celebration of African and African diaspora cinema presented by the Royal African Society. She was also the Festival Manager and Director of the European Film Festival, Ghana. (EUFFGH). She is the founder and festival director of Ndiva Women's Film Festival which aims to create artistic platforms for the presentation and preservation of work by, for and about women. And, most recently she is director and editor of the documentary film When Women Speak. Keep reading for a wealth of further insights into topics discussed during our conversation. I learned so much about African cinema history and present, and I have a feeling from this session with this Glocal Citizen, you will too! Where to find Aseye? When Women Speak Film (https://whenwomenspeakfilm.com) On LinkedIn (linkedin.com/in/aseye-tamakloe-28729a2a) On Instagram (https://www.instagram.com/aseyetamakloe/?hl=en) On Facebook (https://www.facebook.com/aseye.tamakloe) On Twitter (https://twitter.com/tamakloeaseye?lang=en-GB) On YouTube (https://www.youtube.com/@aseyetamakloe8408) Who is Aseye reading? Paulo Coelho (https://en.wikipedia.org/wiki/Paulo_Coelho) Ama Ata Aidoo (https://en.wikipedia.org/wiki/Ama_Ata_Aidoo) Kofi Awoonor ((https://en.wikipedia.org/wiki/Kofi_Awoonor) Leila Aboulela (https://leila-aboulela.com/about/) Okyeame Literary Magazine (https://en.wikipedia.org/wiki/Okyeame) Toni Morrison (https://www.oprahdaily.com/entertainment/books/a26536741/best-toni-morrison-books/) Chimamanda Ngozi Adichie (https://www.chimamanda.com) The Kite Runner (https://a.co/d/gdDjljF) by Khaled Hosseini Who is Aseye listening to? Culture (http://www.culturereggaeband.com) Amakye Dede (https://en.wikipedia.org/wiki/Amakye_Dede) Opera Greats (https://hellomusictheory.com/learn/famous-opera-singers/) Other topics of interest: Film, Form and Culture (https://a.co/d/5Kd7LTu) by Robert Kolker Alice Guy-Blaché (https://en.wikipedia.org/wiki/Alice_Guy-Blach%C3%A9) D.W. Griffith (https://en.wikipedia.org/wiki/D._W._Griffith) Mr. Mensah Builds a House (https://www.youtube.com/watch?v=OHExt9bN1aU) The Boy Kumasenu (https://www.youtube.com/watch?v=dAPK8xJgpoU) GFIC - Ghana Film Industry Corporation (https://en.wikipedia.org/wiki/Cinema_of_Ghana) 1966 Coup d'Etat in Ghana (https://www.ghanaweb.com/GhanaHomePage/NewsArchive/Today-in-History-Ghana-s-first-coup-Nkrumah-s-overthrow-in-1966-875797) Hamile: The Tongo Hamlet (https://archive.org/details/hamile-pt-1) I Told You So (https://www.youtube.com/watch?v=QsWRRg02TlM) Five Fingers for Marseilles (https://www.imdb.com/title/tt2396489/) Ghana Academy of Film and Television Arts (https://www.facebook.com/theghanaacademy/) Fescpaco (https://fespaco.org/en/fespaco/) Black Star International Film Festival (https://www.bsiff.org) NCWD in action (https://www.un.org/womenwatch/daw/followup/responses/Ghana.pdf) Gen Z (Zoomers) vs Millennials (https://greekreporter.com/2022/09/23/genz-vs-millenials/) Abantu Ghana (https://abantu-rowa.com") About Desiderata Poem (https://www.desiderata.com) Special Guest: Aseye Tamakloe.

Grab your body glitter and avoid the shadow of the cross because we're talking Bill Gunn's Ganja & Hess (1973) for its 50th anniversary! Along for the ride is Brother Ghoulish himself, Ryan Kinney, who brings keen insight into the intersection between colonialism, vampirism and religion.Plus: celebrating Marlene Clark's iconic performance, the film's visualization of black bodies, debating the villainy of the titular characters, Gunn's status as a black gay filmmaker in the 70s, and Trace's disgust over brushing your teeth in the bath.References:-Ayi Kwei Armah. Two Thousand Seasons, 1973-Manthia Diawara and Phyllis Klotman. "Ganja and Hess: Vampires, sex and addictions." Jump Cut-Christopher Sieving. Pleading the Blood : Bill Gunn's Ganja and Hess, Indiana University Press, 2022Questions? Comments? Snark? Connect with the boys on Twitter, Instagram, Youtube, Letterboxd, Facebook, or join the Facebook Group to get in touch with other listeners> Trace: @tracedthurman> Joe: @bstolemyremote> Ryan: @brotherghoulishBe sure to support the boys on Patreon! Theme Music: Alexander Nakarada Hosted on Acast. See acast.com/privacy for more information.

This week, Film Comment is reporting from Berlin, where the 2023 Berlinale is currently underway. Throughout the festival, we'll be sharing daily podcasts, dispatches, and interviews covering all the highlights of this year's selection, including new films by Christian Petzold, Angela Schanelec, Hong Sangsoo, James Benning, and many more. On today's episode, FC co-editors Devika Girish and Clinton Krute are joined by curator and critic Antoine Thirion and critic (and former editor-in-chief of Cahiers du Cinéma) Jean-Michel Frodon to discuss some recent viewings from the festival's mid-point: Giacomo Abbruzzese's Disco Boy, John Trengove's Manodrome, Bas Devos's Here, Zhang Lu's The Shadowless Tower, Margarethe von Trotta's Ingeborg Bachmann – Journey into the Desert, and Manthia Diawara's AI: African Intelligence. Stay up to date with all of our Berlin 2023 coverage here.

In Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art (Skira, 2021), art historian and curator Selene Wendt presents lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide. The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. The book includes artists John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

In Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art (Skira, 2021), art historian and curator Selene Wendt presents lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide. The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. The book includes artists John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/history

In Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art (Skira, 2021), art historian and curator Selene Wendt presents lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide. The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. The book includes artists John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/critical-theory

In Beyond the Door of No Return: Confronting Hidden Colonial Histories through Contemporary Art (Skira, 2021), art historian and curator Selene Wendt presents lesser-known tales of anticolonial defiance in artworks and marginal histories worldwide. The artists featured in this book create compelling narratives that shed light on the entangled colonial histories that connect Europe, Africa, the Caribbean and the Americas. Collectively, these artists provide crucial insight into some of the lesser-known aspects of colonial history, such as Norwegian involvement in the transatlantic slave trade. They describe the lives of freedom fighters such as Venus Johannes, Mary Thomas, Olaudah Equiano and Anna Heegaard. By highlighting the stories of those who have been historically silenced, we encounter a more nuanced understanding of colonial history and the factors that have contributed to the continued effects of colonialism today, most evidently witnessed in the prevalence of institutional, systemic and everyday racism, poverty and forced migration. The book includes artists John Akomfrah, La Vaughn Belle, Manthia Diawara, Jeannette Ehlers, Michelle Eistrup, Sasha Huber, Oceana James, Patricia Kaersenhout, Grada Kilomba, Suchitra Mattai and Alberta Whittle. Holiday Powers is Assistant Professor of Art History at VCUarts Qatar. Her research focuses on modern and contemporary art in Africa and the Arab world, postcolonial theory, and gender studies. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/art

The Malian photographer, Malick Sidibé, is one of Africa's most celebrated artists. His most famous photographs show black and white scenes of young people partying in the capital Bamako in the joyful, confident era after Mali got its independence from France in 1960. In the 1990s, a chance encounter with a French curator brought Sidibé's work international acclaim. The wider world had been used to seeing a narrow range of images from Africa, so when Sidibé's work went up on show in Western art galleries, audiences were stunned by the exuberant world they revealed. Viv Jones talks to someone who knew Sidibé back when he was a roving nightlife photographer - Manthia Diawara, Malian filmmaker and Professor at New York University. (Photo: Malick Sidibé. Photo by BILLY FARRELL/Patrick McMullan via Getty Images)

Welcome back to Fright School! We dedicate the first part of the episode to Joe and his recent appearance on THE WEAKEST LINK! We are continuing our celebration of Black Horror History Month! HORROR NOIRE (on SHUDDER!) is our guide to some of the essential and influential films that have shaped Black Horror. Today we're discussing GANJA & HESS a film that was almost lost to the ages if not for The Museum of Modern Art. We chat about Catholicism's preoccupation with blood drinking and cannibalism, the vampirism as addiction metaphor, the practicality of monogamy and heterosexuality in immortals, the incredibly weird and arresting soundtrack, and we introduce the concept of the Enduring Woman. FOLLOW US! Facebook Twitter Instagram LinkTree Recommended Reading: Original Theatrical trailer GANJA & HESS (1973) GANJA & HESS: The Edge Of Extinction By PHIL NOBILE JR. DameStruck: Ganja & Hess (1973) Ganja and Hess: Vampires, sex, and addictions by Manthia Diawara and Phyllis Klotman HORROR NOIRE GUIDE: 13 ESSENTIAL BLACK HORROR FILMS Horror Noire: A History of Black Horror by Robin R Means Coleman EXTRA CREDIT: WE HAVE ALL NEW TEES AND MERCH AVAILABLE! Fright School Recommended Texts: The Monster Show: A Cultural History of Horror by David J. Skal Men, Women, and Chain Saws: Gender in the Modern Horror Film by Carol J. Clover Horror Noire: A History of Black Horror by Robin R Means Coleman Projected Fears by Kendall R. Phillips The Horror Genre: From Beelzebub to Blair Witch by Paul Wells Support FRIGHT SCHOOL by donating to their Tip Jar: https://tips.pinecast.com/jar/fright-school Find out more at https://fright-school.pinecast.co This podcast is powered by Pinecast.

Photography has been used as a tool to record our bodies from the creation of the first mugshots in the late 19th century to recent developments in facial recognition technology. In the first episode of Mirror with a Memory, artist Zach Blas and filmmaker and scholar Manthia Diawara will discuss what it means to leave it to machines to verify our identities.

The Nigerian novelist Chinua Achebe's 1958 Things Fall Apart transformed the world by vividly imagining the story of an African community in English, the language of the colonizers, and yet on its own terms. It transformed not only the English language but allowed millions of readers to enter into a civilization and worldview that is at once highly specific yet resonant with universal themes. Manthia Diawara, the Mali-born and European and American-educated renowned filmmaker, most recently An Opera of the World, and author of many books himself, including We Won’t Budge: An African Exile in the World, explains why Things Fall Apart ranks among the great novels of all time. Manthia brings the book powerfully to life, and shows how reading this book brings you face-to-face with the great challenges and joys faced by all humans at all times. Read more. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

The Nigerian novelist Chinua Achebe's 1958 Things Fall Apart transformed the world by vividly imagining the story of an African community in English, the language of the colonizers, and yet on its own terms. It transformed not only the English language but allowed millions of readers to enter into a civilization and worldview that is at once highly specific yet resonant with universal themes. Manthia Diawara, the Mali-born and European and American-educated renowned filmmaker, most recently An Opera of the World, and author of many books himself, including We Won’t Budge: An African Exile in the World, explains why Things Fall Apart ranks among the great novels of all time. Manthia brings the book powerfully to life, and shows how reading this book brings you face-to-face with the great challenges and joys faced by all humans at all times. Read more. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

The Nigerian novelist Chinua Achebe's 1958 Things Fall Apart transformed the world by vividly imagining the story of an African community in English, the language of the colonizers, and yet on its own terms. It transformed not only the English language but allowed millions of readers to enter into a civilization and worldview that is at once highly specific yet resonant with universal themes. Manthia Diawara, the Mali-born and European and American-educated renowned filmmaker, most recently An Opera of the World, and author of many books himself, including We Won’t Budge: An African Exile in the World, explains why Things Fall Apart ranks among the great novels of all time. Manthia brings the book powerfully to life, and shows how reading this book brings you face-to-face with the great challenges and joys faced by all humans at all times. Read more. Uli Baer is a professor at New York University. He is also the host of the excellent podcast "Think About It" Learn more about your ad choices. Visit megaphone.fm/adchoices

1-54 Forum Marrakech 22 - 24 February 2019 Ted Joans in Context: Notes and Thoughts on Filmmaking [EN + FR] A unique opportunity to engage with rarely shown and recently digitised films featuring Ted Joans. Following her extensive research on Ted Joans, art historian and curator Karima Boudou (1-54 Forum Programme Curator) will introduce several films spanning the decade of the 1990s. What is the role of archives in generating discourse and understanding histories? What can we learn from the process of archiving film and the use of archived documentary films in contemporary cultural projects? In partnership with ESAV, l'École Supérieure des Arts Visuels de Marrakech Please note that this is not a live recording. We want to take this opportunity to recognise and thank Vincent Melilli for his very kind introduction. Our partnership with ESAV commenced with the inaugural Marrakech edition in 2018. Films copyright Estate of Ted Joans, courtesy of Laura Corsiglia. Special thanks to Laura Corsiglia, Terri Geis, Manthia Diawara and Jordan Packer. www.1-54.com

The Nigerian novelist Chinua Achebe's 1958 Things Fall Apart transformed the world by vividly imagining the story of an African community in English, the language of the colonizers, and yet on its own terms. It transformed not only the English language but allowed millions of readers to enter into a civilization and worldview that is at once highly specific yet resonant with universal themes. Manthia Diawara, the Mali-born and European-educated renowned filmmaker and writer, explains why Things Fall Apart ranks among the great novels of all time, and how reading this book brings you face-to-face with the great challenges and joys faced by all humans everywhere.

Dictionary of Now #3 - Wole Soyinka & Manthia Diawara - TRUTH May 4, 2016 7pm Film, discussion A meeting of the Nobel laureate in literature Wole Soyinka and the film theorist Manthia Diawara to discuss the notion of truth against the background of global postcolonial conflicts. What role does the truth play in the context of violence and human rights violations, of reconciliation and reparations? What forms of truth speaking are linked to personal freedom and what create new ostracizing power structures? Are there universal truths? And what truth is generated by fiction or documentaries? The Négritude movement and Glissant's poetry of relation will be the starting point for Diawara and Soyinka's examination of techniques of assertion and methods of truth production.

Manthia Diawara, NYU.