John Akomfrah and Isaac Julien: Migrating between ideas, formas and exhibition platforms
Abstract The Afro-diasporic artistsan Isaac Julien (Londres, 1960) and John Akomfrah (Ghana, 1957) have overtaken international museums and galleries in recent years. Their writings, their public presentations, and their extensive careers, with works that travel across numerous spaces (cinema, television screen, white cube) have reached a unique position among those of the black diaspora, have allowed them to devote themselves freely to multi-screen works. In their recent manifesto works ‘Purple’ (Akomfrah, 2018) and ‘Playtime’ and ‘Kapital’ (Julien, 2013-4), they reveal strategies and formal tools that resituate our perceptions, inviting us to reflect on an array of contemporary emergencies: the ecological crisis, global warming, and racialized global capitalism. The transformed audiovisual language that emerges from their essayistic works in the multi-screen format creates new critical and radical forms of perception among audiences.
- Referencias
- Cómo citar
- Del mismo autor
- Métricas
Akomfrah, John. (2013). DISSENT! John Akomfrah. Screening & Talk. Cinematek, Bruselas, 20 de noviembre de 2013. Texto de presentación. Recuperado de https://augusteorts.be/activities/12/john-akomfrah
Alter N. M., y T. Corrigan, (Eds.). (2017). Essays on the Essay Film. Nueva York, EE.UU.: Columbia University Press.
Álvarez E., (Ed.). (2016). Isaac Julien. Playtime & Kapital. Ciudad de México, México: MUAC.
Ballard T., y D. Kopel, (Eds.). (2018). John Akomfrah. Signs of Empire. Nueva York, EE.UU.: New Museum.
C&. (10 de mayo de 2019). Golden Lion to Arthur Jafa. C&. Recuperado de https://www.contemporaryand.com/magazines/golden-lion-to-arthur-jafa
Das J. (14 de marzo de 2019). Ghana makes a star-studded debut at the Venice Biennale. CNN Style. Recuperado de https://edition.cnn.com/style/article/ghana-venice-biennale-2019/index.html
DeCarava R., y L. Hughes, (2018). The Sweet Flypaper of Life. Nueva York, EE.UU.: First Print Press.
Fanon F., (2002). Les Damnés de la terre, París, Francia.: La Découverte/Poche.
Frankel D., (Ed.). (2014). Isaac Julien. Riot. Nueva York, EE.UU.: MoMA
Gates Jr. H. L., (1992). The Black Man’s Burden. En Wallace, M. Black Popular Culture. Seattle: EE.UU.: Bay Press.
Gilroy P., (1995). The Black Atlantic. Modernity and Double-Consciousness. Boston, EE.UU.: Harvard University Press.
Hall, S. (1987). Minimal Selves. Identity: The Real Me. ICA Document 6. Londres, Inglaterra: ICA y Verso.
Higgings Ch. (29 de marzo de 2019). Ghana shakes up art’s ‘sea of whiteness’ with first Venice pavilion. The Guardian. Recuperado de https://www.theguardian.com/artanddesign/2019/may/08/ghana-first-pavilion-venice-art-biennale-david-adjaye-ghanaian-artists-john-akomfrah
Jafa A. (29 de marzo de 2019). Love is he Message, the Message is Death. TATE. Recuperado de https://www.tate.org.uk/whats-on/tate-liverpool/exhibition/love-message-message-death
Julien I., y C. MacCabe, (1991). Diary of a Young Soul Rebel. Londres, Reino Unido: British Film Institute.
Lokale. P. (10 de septiembre de 2019). Yango 2020: la commissaire Nadia Yala Kisukiki dévoile une partie de ce rendez-vous artistique. Actualité.CD. Recuperado de https://actualite.cd/2019/09/10/yango-2020-la-commissaire-nadia-yala-kisukidi-devoile-une-partie-de-ce-rendez-vous
MacKenzie S. y A. Westerstahl, (Eds.). (2016). Films on Ice: Cinemas of the Artic, Edimburgo, Reino Unido: Edimburgh University Press.
Mbembe A. (2018). Politiques de l’inimitié. París, Francia: La Découverte.
Mercer K., (1994). Welcome to the Jungle. New Positions in Black Cultural Studies. Nueva York y Londres, EE.UU. y Reino Unido: Routledge.
The Otholit Group (2007). The Ghosts of Songs: The Art of the Black Audio Film Collective. Liverpool, Reino Unido: Liverpool University Press.
Van der Zee J., O. Dodson y C. Billops, (1978). The Harlem Book of the Dead. Nueva York, EE.UU.: Morgan & Morgan.
Alter N. M., y T. Corrigan, (Eds.). (2017). Essays on the Essay Film. Nueva York, EE.UU.: Columbia University Press.
Álvarez E., (Ed.). (2016). Isaac Julien. Playtime & Kapital. Ciudad de México, México: MUAC.
Ballard T., y D. Kopel, (Eds.). (2018). John Akomfrah. Signs of Empire. Nueva York, EE.UU.: New Museum.
C&. (10 de mayo de 2019). Golden Lion to Arthur Jafa. C&. Recuperado de https://www.contemporaryand.com/magazines/golden-lion-to-arthur-jafa
Das J. (14 de marzo de 2019). Ghana makes a star-studded debut at the Venice Biennale. CNN Style. Recuperado de https://edition.cnn.com/style/article/ghana-venice-biennale-2019/index.html
DeCarava R., y L. Hughes, (2018). The Sweet Flypaper of Life. Nueva York, EE.UU.: First Print Press.
Fanon F., (2002). Les Damnés de la terre, París, Francia.: La Découverte/Poche.
Frankel D., (Ed.). (2014). Isaac Julien. Riot. Nueva York, EE.UU.: MoMA
Gates Jr. H. L., (1992). The Black Man’s Burden. En Wallace, M. Black Popular Culture. Seattle: EE.UU.: Bay Press.
Gilroy P., (1995). The Black Atlantic. Modernity and Double-Consciousness. Boston, EE.UU.: Harvard University Press.
Hall, S. (1987). Minimal Selves. Identity: The Real Me. ICA Document 6. Londres, Inglaterra: ICA y Verso.
Higgings Ch. (29 de marzo de 2019). Ghana shakes up art’s ‘sea of whiteness’ with first Venice pavilion. The Guardian. Recuperado de https://www.theguardian.com/artanddesign/2019/may/08/ghana-first-pavilion-venice-art-biennale-david-adjaye-ghanaian-artists-john-akomfrah
Jafa A. (29 de marzo de 2019). Love is he Message, the Message is Death. TATE. Recuperado de https://www.tate.org.uk/whats-on/tate-liverpool/exhibition/love-message-message-death
Julien I., y C. MacCabe, (1991). Diary of a Young Soul Rebel. Londres, Reino Unido: British Film Institute.
Lokale. P. (10 de septiembre de 2019). Yango 2020: la commissaire Nadia Yala Kisukiki dévoile une partie de ce rendez-vous artistique. Actualité.CD. Recuperado de https://actualite.cd/2019/09/10/yango-2020-la-commissaire-nadia-yala-kisukidi-devoile-une-partie-de-ce-rendez-vous
MacKenzie S. y A. Westerstahl, (Eds.). (2016). Films on Ice: Cinemas of the Artic, Edimburgo, Reino Unido: Edimburgh University Press.
Mbembe A. (2018). Politiques de l’inimitié. París, Francia: La Découverte.
Mercer K., (1994). Welcome to the Jungle. New Positions in Black Cultural Studies. Nueva York y Londres, EE.UU. y Reino Unido: Routledge.
The Otholit Group (2007). The Ghosts of Songs: The Art of the Black Audio Film Collective. Liverpool, Reino Unido: Liverpool University Press.
Van der Zee J., O. Dodson y C. Billops, (1978). The Harlem Book of the Dead. Nueva York, EE.UU.: Morgan & Morgan.
Leal Riesco, B. (2019). John Akomfrah and Isaac Julien: Migrating between ideas, formas and exhibition platforms. Fonseca, Journal of Communication, (19), 99–116. https://doi.org/10.14201/fjc20191999116
Downloads
Download data is not yet available.
+
−