Listening to the Echoes of the South Atlantic highlights visual, sonic, and performative art practices that reflect a deep understanding of music and its overlapping histories. As the works in the exhibition convey, music and sound are particularly effective means of bringing history into contemporary space.The sonic heartbeat is found in socially engaged and historically conscious art practices that extend beyond the strict parameters of visual art, music, or performance.
The deep interconnectivity between music and history is the underlying narrative of this exhibition. Building on the importance of music in relation to what Paul Gilroy refers to as “the Atlantic as a system of cultural exchanges”, the exhibition addresses the impact of music as a collective language of resistance and solidarity. The videos, sound-based sculptures, installations, and performances are all connected to the entangled histories of the South Atlantic.
The participating artists guide us on what Satch Hoyt refers to as a journey from slave ship to spaceship. Highlights along the way include the Tupi-Valongo Cemetery, where Pankararu indigenous chants are interspersed with the sounds of gunshots from a favela; the Danish Marienborg residence, with its strong connection to the triangular trade, where Jeannette Ehlers performs a Vodou dance, and a haptic sound installation by Camille Norment that explores sonic interconnectivity conveyed through a soundscape that ranges from subdued humming to deep, rhythmic moaning.
Participating artists: Cássio Bomfim, Jeannette Ehlers, Anita Ekman, Satch Hoyt, Neo Muyanga & William Kentridge, Camille Norment, Dawit L. Petros, and Nyugen E. Smith. Curated by Selene Wendt
The multimedia digital catalogue, designed by Nadia Huggins is available here: https://joom.ag/iqBe
With generous support from Goethe-Institut, Oslo Kunstforening, Nordic Black Theatre, Fritt Ord, The Norwegian Cultural Council, and Danish Arts Foundation.
The conceptual platform for the 13th Havana Biennial, under the theme “The Construction of the Possible”, proposed to be a stage for the exchange of ideas that would prioritize the necessity for balance between society, culture and nature. For the first time ever, The Havana Biennial also took place in other Cuban cities, including Matanzas, where Intermittent Rivers took place.
As an invited artist to the 13th Havana Biennial, María Magdalena Campos-Pons took the opportunity to initiate a project that would revitalize the artistic community of Matanzas. As a native of Matanzas, she has a deep understanding of the rich cultural legacy of Matanzas and is conscious of how memory, trauma, and erasure can be resolved through transformative gestures. As Artistic Director of Intermittent Rivers, Campos-Pons appointed Octavio Zaya, Salah M. Hassan, and Selene Wendt as her curatorial team.
Through this project we sought to revitalize the city through multiple exhibitions and artistic interventions that helped renew a sense of cultural pride within the community. In the selection of participating local and international artists, we placed emphasis on social actions that would have a long-term impact on the city of Matanzas. The goal was to revitalize the local art scene and to foster urban renewal through an extensive exhibition platform where local and international artists would converge.
Intermittent Rivers featured over 50 local and international artists, including Ambreen Butt; Ingrid Calame; Collectivo Araigo; Iftikhar Dadi; Marilá Dardot; Manthia Diawara; Augustin Drake; Ediciones Vigia; Melvin Edwards; Guillermo Gallindo; Josephine Halvorson; Julie Mehretu; Ernesto Millan; Olu Oguibe; Ramon Pacheco; Claudia Padrón; Adriana Riera Pérez; Dawit L. Petros; Salomon; Jamaal Sheats; Tracey Snelling; Ana M. Velasco; Carrie Mae Weems, and Cosmo Whyte, among many others.
Voted by Hyperallergic as one of the top 15 best exhibitions worldwide in 2019.
The exhibition title is inspired by the seminal poem by the St.Lucian Nobel-laureate poet Derek Walcott. The reference serves to emphasise the poetic undercurrent of the exhibition, while also highlighting the relevance of great Caribbean thinkers such as Derek Walcott, Stuart Hall, and Édouard Glissant within a wider geographical and theoretical context.
The exhibition features work by contemporary artists who address issues of migration and displacement from both a historical and contemporary perspective.The stories and histories relate to a timeframe that begins with the transatlantic slave trade and continues until today. If the exhibition were visualised on a map, the works could be understood in relation to an expansive sea, the ebb and flow of which is never-ending, and cyclical, where the currents move back and forth between countries and continents, through time and history, from past to present. The routes on the map would extend from West Africa to the Caribbean, from the Caribbean to the UK and the United States, between Asia and the Caribbean, and back again. As such, the overlapping and entangled histories of the exhibition are connected to an ongoing discourse that is fluid, open-ended, and unresolved.
At a time when forced migration is affecting the lives of an ever-increasing number of individuals worldwide, the question is how contemporary artists can effectively and sensitively address the topic of displacement in ways that contribute to increased awareness, tolerance, and understanding. The artists featured in The Sea is History succeed in conveying a complex and nuanced picture of migration and displacement. Derek Walcott’s poems, and Stuart Hall’s and Édouard Glissant’s contribution to cultural theory all provide valuable insight into the works featured in the exhibition and the topics addressed by the participating artists.
Curated by Selene Wendt for The Museum of Cultural History, Oslo, Norway.
Participating artists: John Akomfrah, Andrea Chung, Maria Magdalena Campos-Pons, Christopher Cozier, Manthia Diawara, Isaac Julien, Naiza Khan, Hew Locke, Nyugen E. Smith, and Cosmo Whyte.
The exhibition is accompanied by a fully illustrated catalogue to be published by SKIRA, with essays by Manthia Diawara, Annie Paul, and Selene Wendt, as well as an essay and a selection of poems by Ishion Hutchinson. Poems by Linton Kwesi Johnson, Kei Miller, Christian Campbell, and Nyugen E. Smith are also featured.
The exhibition title is inspired by a poem by Tsering Woeser, whose ongoing struggle against oppression and violence has been a source of inspiration for activists throughout the world. Her description of what is presumably an ordinary paper-cut suggests that almost anything can suddenly become a weapon—inexplicably and without warning. Her poem resonates as an apt metaphor for the proximity and threat of violence worldwide. The entangled histories of violence and oppression conveyed in this exhibition convey a deeply unsettling collective narrative of social injustice. Although the primary focus is on violence and oppression in contemporary society, the brutal weight of history looms heavily throughout. The stories that unfold reveal striking similarities between forms of violence regardless of location. Recurring themes include gender violence and the prevalence of violence against women and children in particular; censorship and surveillance; the exotification of the black female body, and shared histories of war, military rule, and political oppression. The featured works also shed light on the social circumstances that lead to violence and oppression in the first place.
Curated by Selene Wendt for The Prince Claus Fund Gallery, Amsterdam.
Participating artists: Regina José Galindo, David Goldblatt, FX Harsono, Amar Kanwar, Naiza Khan, Teresa Margolles, Cildo Meireles, Zanele Muholi, Oscar Muñoz, and Newsha Tavakolian.
The Art of Fiction offered a unique journey through Orhan Pamuk’s literature, with The Museum of Innocence as the focal point. Orhan Pamuk’s critically acclaimed novel The Museum of Innocence is both a classic love story and an ode to Istanbul. On its most basic level The Museum of Innocence is the story of Kemal who falls so deeply in love with Füsun that he becomes obsessed with collecting objects that remind him of the time they spent together before fate would tear them apart—not only once but twice. These objects are spun into a nostalgic and sentimental story that also paints a vivid picture of Istanbul from the 1970s to the early 2000s. As viewers, we are invited to consider the symbolism of real objects that relate to a fiction. As readers, we are confronted with reality through intermittent references to Orhan Pamuk and the museum that he would later create to house the objects that Kemal collects. This playful balance between fiction and reality—so typical of Orhan Pamuk’s literary style—teases our understanding of both. Neither a book about a museum, nor a museum about a book, these are two sides of the same story; one told through words, the other expressed through objects. As such, an epic tale of love, an ode to Istanbul, and an unprecedented work of art come together to reveal the full potential of the relationship between words and images, literature and art. The exhibition featured twenty-nine replicas of vitrines from The Museum of Innocence in Istanbul. Inside each vitrine is a selection of carefully composed objects that reference specific chapters in the novel The Museum of Innocence. It is worth mentioning the strong link between Orhan Pamuk’s vitrines and Joseph Cornell’s shadow boxes as Pamuk’s vitrines are based on many of the same principles: ready-mades, found objects, assemblage, the relationship between objects, and surrealism. The vitrines were complemented by historical film footage, family photographs, a sound component, and an interactive video presentation of Orhan Pamuk’s notebooks filled with texts and watercolors. The Art of Fiction also featured twelve original accordion notebooks filled with words and images, which have never been presented or published previously. These served to emphasize the importance of Orhan Pamuk’s role as a visual artist. In fact, he dreamed of becoming an artist until the age of twenty-three when “a screw fell loose” and he decided to become an author. Although Pamuk went on to become an award winning author the artist inside him never died. In its entirety the exhibition demonstrates that literature and art are of equal importance to Orhan Pamuk.
The exhibition was curated by Selene Wendt, in collaboration with The Museum of Innocence, for The Museum of Cultural History, Oslo, where it was on view May 22 - October 15, 2017. The exhibition was accompanied by an audioguide, and a fully illustrated book with texts by Orhan Pamuk, Bernt Brendemoen, and Selene Wendt. With generous support from The Foundation for Free Speech, The Norwegian Cultural Council, The City of Oslo (Kulturetaten), Films from the South, and Bergesenstiftelsen.
The Art of Storytelling was inspired by Latin American literature and its distinct tradition of storytelling, and featured work by contemporary artists whose work is directly inspired by poetry and literature. Authors such as Jorge Luis Borges, Pablo Neruda, João Guimarães Rosa, Mario Vargas Llosa and Gabriel Garcia Marquez have all had a tremendous influence on the development of literature and poetry both in their own countries and internationally. Latin American literature has also been a valuable source of inspiration not only for readers and other authors, but also for artists. This was the source of inspiration for a comprehensive exhibition that featured contemporary artists whose work is directly inspired by literature and poetry. The Art of Storytelling was curated by Selene Wendt specifically for MAC Niterói, with special focus on Brazilian artists. The exhibition included a very important community aspect that involved a collaboration with the artist/writers collective Dulcinéia Catadora. We developed a book project and series of workshops created to engage youth from the local community in the outcome of the catalog in the months leading up to the exhibition, using art and literature as tools to create a positive impact on their lives. Participating artists: Gilvan Barreto, Dulcinéia Catadora, Marilá Dardot, Magne Furuholmen, Lobato & Guimarães, William Kentridge, Cristina Lucas, Fabio Morais, Ernesto Neto, Ulf Nilsen, André Parente, Rodrigo Petrella, Rosana Ricalde, Eder Santos, Elida Tessler, Sergio Bernardes/Guilherme Vaz, and Nina Yuen. Follow the link to see the film about the Dulcineia Catadora book project for The Art of Storytelling:
Stuart Hall suggested that one should think of culture not necessarily as a return to roots, but rather in terms of routes, an idea that fully embraces an expansive notion of culture. This includes the routes by which people travel and also how culture travels, moves, develops, changes and migrates. As such, the exhibition title Jamaican Routes pays homage to Stuart Hall, and also serves to emphasize that although rooted in Jamaica, the exhibition extends well beyond Jamaica. The routes of this exhibition are complex and intertwined, reach from past to present, and back again. These routes are as influenced by history as they are by personal experience, whether they extend from Jamaica to Trinidad, The United States to Mauritius, from Kentucky to Kingston, or whether they are local routes that lead from Half Way Tree to the hills of Saint Andrew. Already well known in Jamaica and the Caribbean, the eleven participating artists featured in Jamaican Routes are young artists whose careers are on the rise internationally. The works in the exhibition addressed a wide range of topics, including the social, cultural and political implications of Jamaican music as well as themes that relate to Jamaican cultural and identity issues in more general terms. Although not a strictly thematic exhibition, the intricacies of Jamaican music, and dancehall in particular, provide a powerful undertone for many of the works featured in Jamaican Routes. The works were carefully selected to provide a meaningful and nuanced impression of Jamaican contemporary art through video, film, photography, painting, works on paper and installations. The exhibition catalogue is designed by Richard Mark Rawlins, a Trinidadian artist and designer based in Port of Spain (with strong ties to Jamaica and a deep understanding of Jamaican culture). Richard Mark Rawlins is also publisher of Draconian Switch, an art and design e-magazine. In addition to a curatorial essay by Selene Wendt, contributions to the catalogue include essays by the prominent writers Annie Paul, and Nicole Smythe-Johnson. Annie Paul is a writer and art critic based in Kingston, who also writes extensively about Jamaican music. Her blog Active Voice features witty commentary on current events in Jamaica, the Caribbean, India and the world. Nicole Smythe-Johnson is an independent curator and writer based in Kingston.
Curated by Selene Wendt for Punkt Ø, Galleri F 15, Norway.
Participating artists: Camille Chedda, Andrea Chung, Marlon James, Leasho Johnson, Matthew McCarthy, Olivia McGilchrist, Oneika Russell, Ebony G. Patterson, Storm Saulter, Cosmo Whyte and Andre Woolery.
The Art of Storytelling was a thematic exhibition that featured international contemporary artists whose work is inspired by literature and poetry. Curated by Selene Wendt specifically for Niterói Contemporary Art Museum (Museo de Arte Contemporânea, Niterói) Brazil, the exhibition took place June 16 - July 24, 2016. To reflect the importance of the societal dimension of the exhibition project Selene Wendt developed a special book project and series of workshops in collaboration with Lúcia Rosa of the Dulcinéia Catadora collective. During the workshops we produced 500 one-of-a-kind cardboard covers for The Art of Storytelling exhibition catalog/book. More specifically, youth from the neighboring Morro do Palacio favela, as well as catadores and students from local schools, were directly engaged in the actual outcome of the book to the extent that it reflects their dreams, aspirations, stories and ideas. The book also features information about the exhibition as well as documentation of various aspects of the workshops, in addition to short stories and poems by Paulo Scott, Sergio Sant’Anna and Fabio Morais. The creative process involved engaging the youth to paint the covers cut from cardboard boxes both freehand and with the aid of stencils. The handmade process means that each cover is a unique cover created out of recycled cardboard boxes. Exposing the youth to literature was an essential aspect of the workshops, and each workshop began with Lúcia Rosa reading a poem and a short story. Additional writers and artists were also invited to meet with and inspire the participating youth. Invited guests included Magne Furholmen and Rosana Ricalde, who are also participating artists in the exhibition, as well as Paulo Scott. Dulcinéia Catadora’s work in general is driven by clearly defined ideals. They provide a platform for artistic and literary expression for individuals whose voices would otherwise not be heard and for the underprivileged of society, which is why Dulcinéia Catadora also pays workers of the recycling cooperative (catadores) who are members of the Dulcinéia Catadora collective for the books that they make. With The Art of Storytelling book project, both the youth and the catadores who were involved were directly compensated for their time and participation. What makes The Art of Storytelling book project so special is that it provided a unique opportunity to empower underprivileged youth within the context of an important international exhibition at an established Brazilian museum. By bringing the youth into the project at an early stage, with art and literature as our tools, we sought to empower the youth and ensure that their voices were heard in terms of the hand-painted covers, the actual content of the publication, and also in relation to a collective work that became an important and vital part of the exhibition itself. Participating artists in the exhibition: Gilvan Barreto, Dulcinéia Catadora, Marilá Dardot, Magne Furuholmen, Lobato & Guimaraes, William Kentridge, Cristina Lucas, Fabio Morais, Ernesto Neto, Ulf Nilsen, Andre Parente, Rodrigo Petrella, Rosana Ricalde, Eder Santos, Elida Tessler, Sergio Bernardes/Guilherme Vaz and Nina Yuen. Please click on the link to see a short film about the project: http://files.cargocollective.com/556055/A-arte-de-contar-histo-rias-SD.mov
In 2014 Norway celebrated the 200-year anniversary of its constitution. To mark this occasion, Punkt Ø/Galleri F 15 invited Selene Wendt to curate an exhibition that also included archival maps from around the time of the signing of The Moss Convention, which was the peace treaty that formed the basis for the union between Sweden and Norway. Historical maps were complemented by a more comprehensive presentation of contemporary art, featuring work by artists who work with cartography and maps either directly or in a more subtle manner, resulting in an exhibition that was
political, poetic, conceptual and highly visual, revealing issues related to power structures and geopolitics seen from the perspective of a world in constant change. The historical aspect of the exhibition emphasized the importance of Moss to the outcome of Norwegian history. Expanding the parameters of the exhibition from the topic of a local site of national importance, the work of these international contemporary artists helps to emphasize the importance of a more global perspective rather than an overly nationalistic one. Participating artists: Mona Hatoum, Bouchra Khalili. Joyce Kozloff, Miler Lagos, Kevin Simón Mancera, Julie Mehretu, Fabio Morais, Vik Muniz, Rosana Ricalde and Susan Stockwell