Meyer’s tapestries are disturbingly provocative, layered and convoluted at the same time than explosively colorful and abstruse. They conceit and reveal, putting into play numerous symbolisms, but with a clear mission: bringing to light the realities that gay men in Swaziland face on a daily basis.
Author: Raquel Villar-Pérez
I’m really fascinated by the fact that we think that history is truth, but it is not. History is what someone said was the truth at the time. Art is not the truth, but art can be truth; it can also be the fantasy of the truth, an exaggeration of the truth, or it could be simply beautiful or simply horrific. (…) The work that I make is part of English history, is not just of black history. It is reciprocal. Histories are entwined.
The artist Godfried Donkor – born in Ghana, London based – in conversation with Raquel Villar-Pérez
The First Day of the Yam Custom, 1817, 2017. Source: Gallery 1957
Understanding art as a talisman, a device that possess transformative energy, that is a vehicle for change, Shonibare has collated a heterogeneous survey of works by African artists, its Diaspora and of other backgrounds but who do not necessarily conform to a western vision of art and are sensitive towards African or Black matters.
Raquel Villar-Pérez on the group show Talisman in the Age of Difference curated by Yinka Shonibare.
Umbilical Progenitor by Zak Ové (2018)
It is hard to talk about how my work is perceived. I think it’s received well but there have to be enough critics from the continent reviewing it for me to learn how it is perceived. When I started, people doing the kind of work I do in my country were negligible though some existed in other countries. All I can say as my mother often says, ‘the future is abundant’.
Raquel Villar-Pérez in conversation with Dar es Salaam based Rehema Chachage (1987)
The Squash is playful, humorous, inquiring, and subtly irreverent. Anthea Hamilton’s latest project is a witty response to what Tate Britain represents: the maxim referent of establishment art.