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John Akomfrah: Signs of Empire

06/20/18-09/02/18

The New Museum presents the first American survey exhibition of the work of British artist, film director, and writer John Akomfrah (b. 1957, Accra, Ghana).

Cover Image:

John Akomfrah, Vertigo Sea, 2015 (installation view). Three-channel HD video installation, 7.1 sound, color; 48:30 min. © Smoking Dogs Films. Courtesy Lisson Gallery

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Since the early 1980s, Akomfrah’s moving image works have offered some of the most rigorous and expansive reflections on the culture of the black diaspora, both in the UK and around the world. Akomfrah’s work initially came to prominence in the early 1980s as part of Black Audio Film Collective, a group of seven artists founded in 1982 in response to the 1981 Brixton riots. The collective produced a number of films notable for their mix of archival and found footage, interviews and realist depictions of contemporary England, and layered sound collages. In works like Handsworth Songs (1986), Akomfrah and Black Audio outlined the political and economic forces leading to social unrest throughout England. Akomfrah and Black Audio’s works were remarkable for their trenchant political inquiries and consistently experimental approach. They were also pioneering in their injection of narratives of black British history and culture into popular media through documentaries made for British television.

Throughout the 1990s, Akomfrah’s subject matter expanded beyond the social fractures of contemporary British society to focus on a wider historical context, from the persistent legacy of colonialism to the roots of the contemporary in classical literature. Moving into the early 2000s, Akomfrah also produced a series of atmospheric works addressing personal and historical memory. In the past several years, his multichannel video works have evolved into ambitious, large-scale installations shown in museums around the world.

Although Akomfrah’s work has had a direct and profound influence on subsequent generations of British artists working across media, the importance of his work has yet to be fully felt in the US. The centerpiece of the exhibition at the New Museum is Akomfrah’s celebrated three-screen video installation Vertigo Sea (2015). The work, which premiered at the 2015 Venice Biennale and has its first New York presentation at the New Museum, focuses on the ocean as an environmental, cultural, and historical force, connecting literature and poetry, the history of slavery, and contemporary issues of migration and climate change. The exhibition also includes The Unfinished Conversation (2012), Akomfrah’s complex reflection on the life and ideas of cultural theorist Stuart Hall; Expeditions One: Signs of Empire (1983), the first work produced by Black Audio Film Collective; and a new version of Akomfrah’s Transfigured Night (2013/2018), a two-channel work looking at the relationship between the US and postcolonial African history.

Concurrent with his exhibition on the Second Floor, four of Akomfrah and Black Audio Film Collective’s single-channel works from the 1980s and ’90s are screened on Wednesdays on the Lower Level as part of the Museum’s Screens Series. These works are Handsworth Songs (1986), Black Audio Film Collective’s highly influential documentary on the social upheaval in early 1980s Britain; Testament (1988), a fictional work examining the legacy of postcolonial Ghana; Seven Songs for Malcolm X (1993), an experimental biography of the American political leader; and The Last Angel of History (1995), Akomfrah’s look at the concept and key figures of Afrofuturism.

11:30 AM

Handsworth Songs, 1986
Single-channel 16mm film transferred to video, sound, color; 58:33 min

Testament, 1988
Single-channel 16mm film transferred to video, sound, color; 79 min

2:30 PM

Seven Songs for Malcolm X, 1993
Single-channel 16mm film, sound, color; 53 min

The Last Angel of History, 1995
Single-channel video, sound, color; 45:07 min

All works courtesy Smoking Dogs Films and Lisson Gallery

The exhibition is curated by Gary Carrion-Murayari, Kraus Family Curator, and Massimiliano Gioni, Edlis Neeson Artistic Director. It is accompanied by a fully illustrated catalogue featuring essays by Tina Campt, T.J. Demos, Okwui Enwezor, Aram Moshayedi, Diana Nawi, and Zoe Whitley.

John Akomfrah was born in Accra, Ghana, in 1957, and lives and works in London. He is a cofounder of the Black Audio Film Collective (1982–98). He has had solo exhibitions at the Nasher Museum of Art at Duke University, Durham, NC (2018); San Francisco Museum of Modern Art (2018); Museo Nacional Thyssen-Bornemisza, Madrid (2018); Barbican Centre, London (2017); Ian Potter Museum of Art, Melbourne (2017); Whitworth Art Gallery, Manchester, UK (2017); University of New South Wales Galleries, Sydney (2016); Turner Contemporary, Margate, UK (2016); Nikolaj Kunsthal, Copenhagen (2016); STUK, Leuven, Belgium (2016); Bildmuseet, Umeå, Sweden (2015); Eli and Edythe Broad Art Museum, East Lansing, Michigan (2014); and Tate Britain, London (2013). He has participated in significant group exhibitions including Prospect 4, New Orleans (2017); Milan Triennial (2017); British Art Show 8 (2015–17); the 56th Venice Biennale (2015); Sharjah Biennial 11 (2013); Liverpool Biennial (2012); and Taipei Biennial, Taiwan (2012), and at institutions such as the Museum of Modern Art, New York (2017); Seoul Museum of Art (2017); Van Abbemuseum, Eindhoven, NL (2016); and Hayward Gallery, London (2016). Akomfrah’s work has also been featured in many international film festivals, among them Sundance Film Festival (2013, 2011) and the Toronto International Film Festival, Canada (2012). In 2017, he received the Artes Mundi 7 Prize (2017).

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Sponsors

Lead support for this exhibition is provided by the Ed Bradley Family Foundation.

Additional support is provided by the Friends of John Akomfrah.

Special thanks to Lisson Gallery.

The accompanying publication is made possible, in part, by the J. McSweeney and G. Mills Publications Fund at the New Museum.

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