BE.BOP: Black Europe Body Politics (2012-2018)

3 February 2019, dusan

Be.Bop: Black Europe Body Politics, a project of Art Labour Archives, is a decolonial transdisciplinary and indisciplinary curatorial initiative based in Berlin with an international impact through presentations in major cities across three continents.”

“Active in the international cultural arena since 1997, Art Labour Archives has been passionately involved in the production and theorization of performance and the moving image from a Black Diaspora perspective.

In the vision of its founder, Alanna Lockward, disciplines are meant to facilitate each other’s dismantling by means of constantly challenging its own claims to legitimacy. This paradigm inversion places collective knowledge creation as a central ambition. In this sense, the optic and praxis of Art Labour Archives is to surpass the expectations of the society of the spectacle and its insatiable appetite for visual and sensorial stimulation. Instead, the dozens of publications, exhibitions, screening programs, workshops and seminars conceptualized and produced by Art Labour Archives in the last seventeen years, have offered liberation, healing and redemption as a viable alternative.

In short: our journey is one of experiencing “art” as a labour of love and mutual examination and recognition beyond geographical, discursive and disciplinary thresholds. Between 2010—2018 Be.Bop has been presented in conferences, seminars and different public events in three different continents thanks to the support and faith of our partners, participants and friends.”

Be.Bop “is an enterprise led by curator Alanna Lockward; a collective of artists, curators, artivists and activists, social theorists and humanists. A decolonial project of healing, learning and love. Network with the Middelburg Decolonial Summer School and with Decolonial Aesthesis in Bogota and Durham (Duke University)” (Walter Mignolo, project advisor).

Curated by Alanna Lockward
Publisher Art Labour Archives, Berlin, 2012-2018

Publisher

Catalogues:
The Skin Thing, 2012, event website
Decolonizing the “Cold” War, 2013, event website
Spiritual Revolutions & The “Scramble for Africa”, 2014, event website
Chronology, 2012-2015
Call & Response, 2016, event website (2)
Coalitions Facing White Innocence, 2018, event website

Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt (2005) [English/German]

28 January 2019, dusan

Marianne Brandt (1893–1983) is celebrated for her Bauhaus metal designs, beautiful and mass-reproducible objects created to revolutionize modern interior spaces. Much less well known are her photomontages, which constitute a critical complement to her metal works. In these pieces from the mid-1920s and early 1930s, Brandt focused an analytical gaze on contemporary society and politics. Drawing on the vast array of visual material made available by the Weimar Republic’s burgeoning illustrated press, Brandt’s photomontages relied upon the technologies of modern visual culture to challenge pictorial conventions, to denounce the dangerous side of modern technology that had become so apparent in the First World War, and to image new roles for women in interwar society. Tempo, Tempo! The Bauhaus Photomontages of Marianne Brandt is the first publication to present, document and analyze the full range of Brandt’s work in photomontage.”

Edited by Elizabeth Otto
Publisher Jovis Verlag, Berlin, and Bauhaus-Archiv Museum of Design, Berlin, 2005
ISBN 3936314551, 9783936314557
175 pages
via Academia.edu

Reviews: Marion Deshmukh (H-Net, 2006), Melissa A. Johnson (Woman’s Art Journal, 2008).
Exh. reviews: Grace Glueck (New York Times, 2006), Ben Davis (Artnet, 2006).

Exhibition (Harvard Art Museums, Cambridge, MA)
Exhibition (International Center of Photography, New York)
Publisher
WorldCat

PDF (7 MB)

Ana Mendieta: A Retrospective (1987)

30 December 2018, dusan

“In 1985, Ana Mendieta died tragically. During her 36 years of life she produced a tremendous amount of work covering a range of activities that included performance, installation, and sculpture. Her death cut short her prolific career and left the art world and those who knew her void of a feisty, political, and passionate human being.

After Mendieta’s death, her sister and estate executer, Raquel Mendieta Harrington, formed an art advisory committee comprised of Mendieta’s friends to insure that her work would be compiled, catalogued, and exhibited. John Perreault and Petra Barreras del Rio were chosen to curate a retrospective exhibition of important selections representing a full range of work that had never before been presented together. The result was an exhibition held at the New Museum in New York City, November 1987 through January 1988. Ana Mendieta: A Retrospective affirmed the abundance, strength, and significance of Mendieta’s work.”

With essays by Petra Barreras del Rio and John Perrault.

Publisher New Museum of Contemporary Art, New York, 1987
ISBN 0915557614, 9780915557615
85 pages

Exh. review: Michael Brenson (New York Times, 1987).

Exhibition
Publisher
WorldCat

PDF, PDF (45 MB)