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BE.BOP 2012. BLACK EUROPE BODY POLITICS
Screening and presentation at The Bioscope
A Project of ArtLabour Archives in collaboration with Allianz Kulturstiftung and Ballhaus Naunynstrasse
José Manuel Barreto (England) / Manuela Boatca (Germany) / Artwell Cain (Holland) / Teresa María Díaz Nerio (Holland) / Simmi Dullay (South Africa) / Elvira Dyangani Ossé (Spain) / Jeannette Ehlers (Denmark) / Fatima El Tayeb (Germany) Quinsy Gario (Holland) / Ylva Habel (Sweden) / Philipp Khabo Köpsell (Germany) / Grada Kilomba (Germany) / William Kentridge (South Africa) Michael Küppers-Adebisi (Germany) / Rozena Maart (South Africa) / Tracey Moffatt (Australia) / IngridMwangiRobertHutter (Germany) Minna Salami (England) / Dierk Schmidt (Holland) / Robbie Shilliam (England) / Bonaventure Soh Bejeng Ndikung (Germany) / Jean-Marie Teno (France) / Emeka Udemba (Germany) / Rolando Vázquez (Holland)
Alanna Lockward, Curator / Walter Mignolo, Advisor
Sponsored by: VideoArtWorld, Imagery Affairs, Digits Without Borders, Center for Global Studies and the Humanities at Duke University, Savvy Contemporary and Transnational Decolonial Institute
BE.BOP 2012- BLACK EUROPE BODY POLITICS is an international screening program and transdisciplinary roundtable centered on Black European citizenship in connection to recent moving image and performative practices. It will take place from May 4th to 6th, at Ballhaus Naunynstrasse, a translocal theatre space which serves as point of arrival for artists from (post) migrant communities and beyond, founded in 2008 by Shermin Langhoff with the support of Fatih Akin.
The framework of this meeting is circumscribed within decolonial theories which expose how the idea of citizenship is linked to current racializing configurations and hence with the limits of humanity. In that sense, the racial hierarchy of human existence, originating in the Renaissance and prescribed legally during the Enlightenment, established current (white-male-heteronormative-Christian-Western) European notions of who is Human and who is lower in that hierarchy, thereby designating citizenship, one of the most important legacies of modernity. The time-based positions discussed at this meeting have been selected because they contest (racializing) fantasies on European citizenship.
By means of analyzing these narratives of re-existence, BE.BOP 2012 aims at facilitating a long-term exchange between specialists in disciplines unrelated to visual arts and time-based art practitioners of different contexts of the Black European Diaspora. The idea was to create multiple dialogues across the fields of history, legal studies, theatre, art and political activism.
This meeting is motivated and theoretically embedded to Decolonial Aesthetics and more specifically to Decolonial Diasporic Aesthetics, a term coined by curator, Alanna Lockward. During the presentation of BE.BOP 2012 at The Bioscope, Lockward will screen a selection of some of the participating artists: Teresa María Díaz Nerio, Jeannette Ehlers, William Kentridge, Tracey Moffatt, IngridMwangiRobertHutter and Emeka Udemba. With similar formats, the content of this groundbreaking project has been presented at Duke University, Universidad de Cádiz, Matadero Madrid and the Dutch Art Institute and has enabled lively discussions from multiple perspectives and contexts. Future presentations this year include Goldsmiths University of London as well as the 11 Havanna Biennial.
Alanna Lockward is an author, critic and independent curator specialized in time-based undertakings. In 1988, she was appointed Director of International Affairs at Museo de Arte Moderno in Santo Domingo. She is the founding director of ArtLabour Archives, a cultural platform and agency responsible for producing situation-specific art events and exhibitions since 1997 in the US, the Caribbean, Europe and the African continent. She is chief editor of VideoArtWorld online magazine and general manager of the Transnational Decolonial Institute.
Lockward is the author of Apremio: Apuntes sobre el pensamiento y la creación contemporánea desde el Caribe, and co-author of Vídeo en Latinoamérica: Una visión crítica and Arte Contemporáneo Dominicano. Her essays and articles have been published by Arte Contexto, Art Nexus, Cariforum, Archipiélago, ARCONOTICIAS and Atlántica. Her short novel on Haitian-Dominican relations, Marassá y la Nada, is being published online on the Dominican newspaper Acento from October 2011 to February 2012.
She obtained her Licentiate at the Universidad Autónoma Metropolitana-Xochimilco on communications science, and her MA at the Institute for Art in Context of Universität der Künste Berlin. She has been a guest lecturer at the Humboldt Universität and Transart Institute, in Berlin, and the Roosevelt Academy of Utrecht University and the Dutch Art Institute, in Holland, as well as at the University of Warwick.
In 1996, she was selection Jury of the XX Bienal Nacional de Artes Visuales in Santo Domingo and award jury, in 2011, with Gerardo Mosquera and Carlos Acero at the same event. In 2006, she was award jury of the Quinta Bienal de Artes Visuales del Istmo Centroamericano with Paulo Hernkenhoff and Santiago Olmo. Lockward has been a consultant of Séptima Bienal de La Habana (2000) and IV Caribbean Biennial (2001), as well as of groundbreaking exhibitions such as Políticas de la Diferencia: Arte Iberoamericano Fin de Siglo (2000), Visa oder die Verhinderung des Reisens (2003) and Global Feminisms (2007). In 2012, she was one of the experts of the theoretical forum of the 11 Bienal de La Habana and has been invited to give presentations at the University of Warwick and the University of KwaZulu-Natal.
She has been awarded by the Allianz Kulturstiftung, the Danish Arts Council and the Nordic Council of Ministers.
Some representative curatorial projects are:
BE.BOP 2012. BLACK EUROPE BODY POLITICS. Ballhaus Naunynstraße, Berlin, 2012.
Truestories.Truesuccess. Freies Museum Berlin, 2009.
Pares & Nones. Contemporary Photography from Haiti and the Dominican Republic. Museo de Arte Moderno, Santo Domingo; Instituto Iberoamericano, Berlin; Art Basel Miami Beach; Goethe Institut, Lomé, 2002-2008. http://www.creativeafricanetwork.com/page/7179/en
Días Hábiles. Noches Hábiles. Museo de Arte Moderno, Museo del Hombre Dominicano, Santo Domingo, 2001.
Tres Idos. 3 y 2. Museo X-Teresa Arte Actual. México, D.F., 2000.
Insight into Otherness. Art Center South-Florida, 1997.