In August/September 2015 i had the opportunity again to work with Reál Dance Company (Thomas Körtvélyessy) in conjunction with his solo presentation of his choreographic work at Mirta Demare International Visual Arts
It's that time of year again, midsummer, and I will be teaching/leading the Art & The Echo Chamber Workshop that i devised two years ago or so for TransArtInstitute ( a Low residency MFA/PhD. program).
In conjunction with Arabesque / The Goddess Temple an artwork that recreates the imaginary ruins of the 1928 modernist Adolf Loos Parisian villa of Josephine Baker using draped velvet embossed with fragments of the epic poem El Atlal الأطلال (The Ru
Today I received an eMail from Nana with a link to the January Paris conference that can be watched by those of us in Germany (Though i suspect the "robots" will find something to forbid us yet again).
I am very happy to announce that RADICAL PRESENCE / Black Performance in Contemporary Art arrives to New York City at the Downtown (part1) *GREY ART GALLERY and uptown (part2) at the Studio Museum in Harlem.
I was honored to be asked by the young choreographer/dancer Thomas Körtvélyessy of Real Dance Company based in Rotterdam to assist him as Dramaturg in the creation of his new work-in-progress entitled Pelleas Material- a new work based on Claude
Ordering this issue with the feature on my work in a conversation with art historian Jerry Philogene can be had by going to this link www.arcthemagazine.com Issue No.7 will include a Creative Caribbean Community & Diaspora Passport created f
Paris. an internationally key and highly influential Western space in all things concerning the arts and modernity, is the perfect stage for Black Portraiture[s]: The Black Body in the West, the fifth in a series of conferences organized by Harvard University and NYU since 2004.
Just got off the telephone with "mediator" Nancy Hoffman who is curating an exhibition in Amersfoort (The Netherlands) at the KAdE Kunsthal with artworks by me and our Caribbean diaspora's creative-community.
I saw this film many years ago and I found it very interesting in all its details. "Haiti" seems to arise from nowhere in the film- other than as a strong "symbol" for black sovereignty and pride (yet caged).
This springtime 2012 has been very full for me after spending nearly a month in New York City- mostly with family/friends and some brief but necessary interview work for some articles later in the year.
I just took a 2 week trip to the Netherlands, <a href="https://maps.google.com/maps?q=Terschelling,+Netherlands&hl=en&sll=37.0625,-95.677068&sspn=50.244827,103.447266&vpsrc=0&hnear=Terschelling&t=h&z=12">Terschelling</a> island to be specific.
Lectures can be great ways to think. It forces all of us to understand what we are doing as we communicate our practice, with words, to others. It has a therapeutic quality as well. The above images reflect the following;
The Goddess Project is a large on-going work that encompasses various parts. It encompass the Shrine of the Divine Negress Nr.1 as seen in this short video walk through at Dada Post Gallery in Berlin Germany.
Photo of the official opening ceremonies of the "Negerhosen2000 / Postkarten von meinen Lieben" Quivid Billboards commission, with me, Jean-Ulrick Désert (left) Munich's mayor (Oberbürgermeister) Christian Ude (center) and acclaim