The very first Diaspora Pavilion in Venice offers a glimpse into an art practice that isn't bound to nation states.
Isaac Julien - The Leopard (Western Union: small boats (2007) Single screen projection, Super 16mm colour lm transferred to high de nition, 5.1 surround sound (19 min 51 sec)
Initiated and presented by International Curators Forum (ICF) and University of the Arts London (UAL), the first Diaspora Pavilion in Venice will open its gates this weekend. Spread over two floors at the Palazzo Pisani S. Marina, it features works by twelve artists of diverse heritage, including Barby Asante, Libita Clayton, Kimathi Donkor and many more, and thus calls into question the persisting notion of nations as artistic agents.
Hew Locke. On the Tethys Sea (2017). Mixed media installation
Hew Locke. On the Tethys Sea (2017). Mixed media installation
Barby Asante – As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa (2017).
Barbara Walker – Transcended (2017) Charcoal wall drawing.
Sokari Douglas Camp – All the world is now richer (2012). Steel sculptures.
Dave Lewis – Once Removed (2017). Photographs 61 x 51 cm .Twice Remembered (2017). Photographs 20.4 x 20.4 cm
Barby Asante – As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa (2017)
Yinka Shonibare – The British Library (2017)
Abbas Zahedi – MANNA: Machine Aided Neural Networking of A ect (2017) Mixed media installation.
On the wall: Joy Gregory – Overlooked and Under-reported (2017). Gold-painted wooden plaque 130 x 161 cm
Libita Clayton – Acqua Alta / Typical Political – a domestic riot (2017)
Ellen Gallagher and Edgar Cleijne – Osedax (2010). 16mm lm and hand painted slides
Kimathi Donkor – Toussaint L’Overture at Bedourete (2004) Oil on linen 163 x 183 cm.
In Front: Michael Forbes – Untitled (2017) Wood sculptures, porcelain sculptures, computer components and framed paintings
Isaac Julien – The Leopard (Western Union: small boats (2007)
Barby Asante – As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa (2017)
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![(clockwise) Manyaku Mashilo, Passage to Prayer (detail), 2023. Credit: Hayden Phipps & Southern Guild Archives. Courtesy of the artist; Tatenda Chidora, Self isolation II, 2021. Ilford Gold fibre Pearl 290gsm, 102cm x 132cm. Courtesy of the artist; Anaïs Cheleux, Mas Maten, Guadeloupe, shot on digital camera, 2016. Courtesy of the artist; Glicéria Tupinambá, Manto tupinambá [Tupinambá Mantle], 2023. Courtesy of the artist. Foto: Glicéria Tupinambá; Elizabeth Catlett, African American, 2009, MUSEUM MMK FÜR MODERNE KUNST, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2023, photo: Axel Schneider.](https://contemporaryand.com/wp-content/uploads/2024/12/Bildschirmfoto-2024-12-19-um-21.08.13-320x200.png)
![(clockwise) Manyaku Mashilo, Passage to Prayer (detail), 2023. Credit: Hayden Phipps & Southern Guild Archives. Courtesy of the artist; Tatenda Chidora, Self isolation II, 2021. Ilford Gold fibre Pearl 290gsm, 102cm x 132cm. Courtesy of the artist; Anaïs Cheleux, Mas Maten, Guadeloupe, shot on digital camera, 2016. Courtesy of the artist; Glicéria Tupinambá, Manto tupinambá [Tupinambá Mantle], 2023. Courtesy of the artist. Foto: Glicéria Tupinambá; Elizabeth Catlett, African American, 2009, MUSEUM MMK FÜR MODERNE KUNST, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2023, photo: Axel Schneider.](https://contemporaryand.com/wp-content/uploads/2024/12/Bildschirmfoto-2024-12-19-um-21.08.13-480x300.png)
