What is holding back the agency of women? Can we name the forces erasing or hampering women’s full participation in public life. However complex or varied the issues at hand may be, there is an urgency to reclaim spaces, and open up dimensions.
Zineb Sedira, still from Gardiennes d’images (Image Keepers), 2010 © Zineb Sedira / DACS, London
© Photo André Morin. Courtesy the artist and kamel mennour, Paris
We asked 11 phenomenal women – intrepid academics, artists, writers, and curators – to join us for the 6-part Commentary Series of the ‘In/Visible Voices of Women’ project. By fleshing out a diverse terrain of thoughts and opinions, they name some of the most pressing concerns faced by women at large, and the states of being invisible, and becoming visible come to light
#5 Is there cooperation amongst women?
On the other hand, leaning closer to the complexity of artistic networks, we can also finally admit that
Malala Andrialavidrazana is a visual artist with a background in architecture. She is interested in notions of frontiers and interactions within cross-cultural contexts. Primarily through photography, she digs behind scenes in a succession of back and forth between private spaces and global issues to explore social imaginaries. She invents a language whose approach is resolutely turned towards History but whose engagement in the City remains active. In her collection of visuals, examining the in-between space in a multitude of heres and nows, she proposes an open frame where borders do not exist.
Angèle Etoundi Essamba
Women have an innate sense of solidarity. Facing the same problems encourages them to join their forces to resolve them.
Angèle Etoundi Essamba (b. Cameroon, raised in France) graduated from the Photo Academy of Amsterdam where she lives. Since her first exhibition in 1985 in Amsterdam, her work continues to be exhibited in museums, institutions, art fairs, biennales and galleries in Africa, Europe, the United States, Latin America, Arab Emirates and Asia. Essamba’s work lies at the intersection of the social/gender and the artistic field. She joins the spirit of humanistic photography with a strong attachment to the values of communion. She is a committed artist involved in a reflection on the identity of the African woman. Keywords for Essamba’s work are: pride, strength and awareness.
In general yes. Sisterhood is very tangible in Southern and Eastern Africa. Female artists from North Africa have been supporting each other for decades. Central Africa is waking up, and West Africa must wake up. There is less cooperation amongst female curators, and it might be because of the competition: too few opportunities for them to collaborate.
N’Goné Fall graduated with distinction from the École Spéciale d’Architecture in Paris. She is an independent curator, essayist and a consultant in cultural policies. She has been the editorial director of the Paris-based contemporary African art magazine Revue Noire from 1994 to 2001. Fall has edited books on contemporary visual arts and photography and curated exhibitions in Africa, Europe and the USA. She was a guest curator of the African photography encounters in Bamako in 2001 and the Dakar contemporary art biennial in 2002. As a consultant in cultural policies she is the author of strategic plans, orientation programmes and evaluation reports for national and international cultural institutions and art foundations. Fall has been an associate professor at the Senghor University in Alexandria, Egypt (master department of creative industries) from 2007 to 2011. She is a founding member of the Dakar-based collective GawLab, a platform for research and production on art in public spaces and technology applied to artistic creativity.
Tamar Garb is an art historian and curator. She is Professor of Art History at University College London and was curator of ‘Figures and Fictions, Contemporary South African Photography’, (V&A 2011) and ‘Distance and Desire: Encounters with the African Archive’ (Walther Collection, Ulm, New York, Berlin 2013.14). Amongst her publications are ‘The Painted Face: Portraits of Women in France 1814-1914 (YUP 2008) and ‘The Body in Time’ (Washington 2008).
Euridice Getulio Kala
I will now refrain from using the term black when discussing women, I will assume a current demeanour which communicates my position now.
Artist, curators, and other entities within what we call an industry, have a tough time collaborating; artistic practice is, and perhaps should be, a violently lonely pursuit. It is a pursuit for individual truth and enlightenment, which contributes towards possible changes in paradigms.
In a sense this may be paradoxical that I think women do collaborate, and unfortunately, we collaborate a lot.
We can, and should, acknowledge the work, potential and abilities of other women and therefore engage in a sharing – that does not cripple our advancements – that, on the contrary, can challenge us to communicate better, and make our concepts visible in depth and reach. That does not have to be in unique moments, it could be recurrent or have the chance to morph as the relationship grows
Euridice Getulio Kala (b. Maputo, Mozambique, 1987) is an artist currently based in Maputo, who’s interested in historical cultural metamorphoses, manipulations and adaptation across the period running between the late 1400s and the early 1900s, converging most times with the contemporary context. Kala employs her personal narratives and further delves into her interests, which includes her life in Johannesburg, having been a married woman and being feminist. She works with various media to achieve the finality of her ideas, from performance, video, sculptural-lyrics, installations and photography. Kala was trained as a photographer, and has shown her work in South Africa, Maputo, Amsterdam, Dakar (Off), Apt, Lisbon, Douala and been awarded residencies, both on the continent and internationally.
I have spent my whole life working with other women – as activists and as creatives. There is a tremendous tradition of African feminist solidarity and community-making. In fact, some of the relationships that I have really do make real the idea of a ‘sisterhood’ – of people holding you in their hearts, and sustaining your soul. So there is most definitely cooperation amongst women, and many examples to show how this has helped support social change, and the creation of new ways of seeing the world.
Jessica Horn is a writer, doer, interpreter of the ordinary; heiress of a lineage extending into the Ruwenzori Mountains of western Uganda and the shadows of New York’s Yankee Stadium. Horn has worked for over 15 years with NGOs, donors and the UN on the intersections of women’s health, human rights and freedom from violence. Jessica takes her passion to theorise, cultivate and engage love as a force for revolutionary transformation into activist and artistic spaces, including at TedX Euston Salon and co-curating the blog Our Space is Love. Her poetry pamphlet Speaking in Tongues is included in the Mouthmark Book of Poetry. @stillsherises
There is definitely cooperation between women artists and supportive friendships. However, in the group of artists associated with the gallery, we have found equally supportive friendships and cooperation between male and female artists. The challenges of being an artist in Zimbabwe today make them all brothers and sisters in arms. This is the big unifying factor as I keep saying.
Valerie Kabov is the Director of Education and International Projects at First Floor Gallery Harare, Zimbabwe, which she co-founded in 2009. Valerie holds a Masters in Curatorship and Modern Art from University of Sydney and is a doctoral candidate at University of Paris 1, Sorbonne in Art History (Cultural Policy and Cultural Economics) and is a lawyer with more than a decade of practice in international transactions, with a focus on emerging markets and intellectual property. As researcher and educator, she has focused particularly on the relationship between local and the global in the art market, as well as cultural policy and audience engagement. Kabov is the founder of Art & Dialogue, a professional continuing education programme for curators and cultural practitioners focusing on building skills in engaging diverse/multicultural audiences, and the Editor at Large for Art Africa Magazine.
Marcia Kure is a Nigerian artist who lives and works in the USA. She trained at the University of Nigeria and is an alumna of Skowhegan School of Painting and Sculpture. Kure’s work was shown at the 11th Dak’Art, Senegal (2014) La Triennial, Paris (2013), International Biennial of Contemporary Art, Seville (2006), and Sharjah International Biennale (2005). A Research fellow of the Smithsonian Institution (2008), Visual Artist in Residence at the Victoria and Albert Museum (2014) and winner of Uche Okeke Prize for Drawing (1994). Kure’s work is in the collection of major museums in the United States and Europe. Her work was part of BODY TALK: Feminism, Sexuality and the Body in the Work of African Women Artists, WIELS Contemporary Art Center, Brussels, Frac Lorraine, France and Lunds Konsthall, Sweden (2015-16).
On the Ides of March, a creature with a fiery afro was born. Small in stature and withdrawn in nature, she led a reclusive life on the green highlands of Kenya, overlooking the savannah seas. Receiving her primary education under the instruction of Catholic nuns, she left her home to experience the Century’s Superpower. She later passed many moons, prancing in the Queen’s country, nibbling on crumpets and searching through the dense fog. Today she can be found armed with a pressure-sensitive stylus, and a macro lens. She spends her time between Nairobi and Tsavo, animating little children, photographing dung beetles, and running away from scorpions. Ng’endo Mukii is a graduate of the Royal College of Art (2012) and the Rhode Island School of Design (2006). She works in Nairobi as an independent filmmaker. She is a Berlinale Talents and Design Indaba Alumni, and has received several accolades for her films
Mónica de Miranda
As for the art field, African female artists and curators from other regions than mine do cooperate, enabling artists to develop their careers internationally. However, in the Lusophone world, the community of female artists is not large enough to allow for such a cooperative system.
Mónica de Miranda (b. Porto, Portugal, 1976, of Angolan descent) is an artist and researcher. PhD in visual art from the University of Middlesex (2014), she has received support from the Foundation for Science and Technology. de Miranda is one of the founders of the artistic residency project Triangle Network in Portugal and the founder of the Project Hangar (centre of artistic research in Lisbon, 2014). She has exhibited in Lisbon, London, Amsterdam, Paris, Madrid, Dubai, Rome or Singapore, and was included in the 10th Bamako Encounters, the 14th Biennial of Architecture in Venice and the Bienal de São Tomé e Principe. She has participated in various residencies in Mauritius, London, Maputo and more.
Yes, and given the lack of formal educational infrastructure, most female artists receive education through cooperative networks amongst women. However, these networks mostly promote practices traditionally associated with women (e.g. ceramics, textiles) . Even as many female artists start working with painting, they encounter difficulty to create new visual languages.
Suzana Sousa (b. Luanda, 1981) is an independent curator and writer. Her recent curatorial projects include ‘Seeds of Memory’, Angolan Pavilion (Expo Milano, 2015) and ‘Love me Love me Not – Art from the Collection Sindika Dokolo’, Biblioteca Almeida Garreth (Porto, Portugal). Sousa contributes to Contemporary &, Art+Auctions (NYC), the Goethe Institute Magazine and Arterial Network/ Arts in Africa. She is currently developing the cultural collective Pés Descalços with a group of Angolan independent spirits.
In spring 2016, Another Africa will launch In/Visible Voices of Women, a long-term publication project. Conceived by Clelia Coussonnet and Missla Libsekal, it focuses on women artists operating within Francophone and Lusophone Africa. The first stage of the project is the online publishing of short-form English interviews here on Another Africa. Followed by bilingual artist monographs with long form interviews and essays (English/French), to be made available in print and e-Books.
Foregrounding the artist interviews, in which the artist Zineb Sedira (featured image) participates, the following commentary series raises 6 urgent questions, posed to academics, artists, writers, and curators. Join in the conversation using the #AFRIFEM, #VISIBLITYNOW hashtags.
The Commentary Series
Q1 | What are the most pressing issues facing women, and women practitioners today? [Read more]
Q2 | Are there still places and spaces where women are not welcome? [Read more]
Q3 | What have been the setbacks, and breakthroughs in the past decade? [Read more]
Q4 | What needs to change for people to feel that contemporary art is theirs too? [Read more]
Q5 | Is there cooperation amongst women?
STAY TUNED! and find out what the last question is . . . .
We would like to express our deep thanks to all the commentary series participants: Malala Andrialavidrazana (France/Madagascar), Angèle Etoundi Essamba (Cameroon/Netherlands), N’Goné Fall (France/Senegal), Tamar Garb (South Africa/UK), Jessica Horn (Uganda), Valerie Kabov (Belarus/Zimbabwe), Euridice Kala (Mozambique/South Africa), Marcia Kure (Nigeria/USA), Mónica de Miranda (Angola), Ng’endo Mukii (Kenya) and Suzana Sousa (Angola). It is through their generosity, and above all excellence, that this series has materialised.