Wednesday, June 2, 2010

Horst Köhler and the politics of truth


Dr. Köhler, Britta (co-curator of Who Knows Tomorrow) and Pascale at the Bellevue Palace.
Photos: Copyright Chika Okeke-Agulu


Last Sunday during a reception at the Bellevue Palace, the official residence of the German Federal President, Dr. Köhler made what sounded like a smart joke during a conversation with Pascale Marthine Tayou, Antonio Ole and myself: at the end of a long banter, Pascale said to him, "see you on Thursday" (the opening of our show at the Nationalgalerie), to which Köhler replied, "Who Knows Tomorrow"! We all laughed, surprised that Mr. President had absorbed the wisdom of this ubiquitous and popular saying you hear in many parts of Africa and which is also the title of our show. Little did we know that the gathering at the Bellevue Palace was perhaps Dr. Köhler's last public event, call it his last supper. On Monday morning the air was thick with the news of his unprecedented resignation as the Federal President of Germany. Apparently, the man had said what many see as a truth that could not be named, at least by a public official of a Western nation: that Germany was in Afghanistan to protect its economic interest. Critics called for his head.


Dr. Kohler, Antonio (partially hidden) and Pascale at the Bellevue Palace

Last Sunday was the second time I had encountered Dr. Köhler up close. And on both occasions I remember wondering if he really was a politician, due to what was his seeming inability to master the art of shameless diplomatese. When in December someone in our company mentioned that our show might be a bit controversial--as some might be too uncomfortable with its invocation of Germany's sordid and buried colonial history--he responded that the show "had better be [controversial]!". And last Sunday when some fellow, Prince Asfarate, from the defunct house of Haile Selasie of Ethiopia, stupefyingly claimed that Germany should teach African people the culture of debate and oppositional engagement, he was not just "demolished" by Unity Dow, the really smart Judge from Botswana who gave him three sayings in Tswana (I believe) that clearly demonstrated the virtue of disputation among her people; Dr. Köhler himself exhorted, without directly addressing the exiled Prince--I guess he was trying to be a nice host--that the West must reject the hubris (that was his word) of believing that it has the final solution to all the world's problem!

Although it is unfortunate that we will not see Mr. Köhler tomorrow at the opening of Who Knows Tomorrow, I pay homage to his candid view of the West's relationship with the African continent and the rest of the world. For it is this conviction about the lack of equity in international politics that I believe made him a most ardent advocate of the show, even when it seemed to have run against insurmountable roadblocks. It is this conviction that inspired his Africa Forum that sought to encourage a new generation of Africans to take responsibility for the future of their countries... It is this view of the world that made it impossible for him to learn the art of equivocation that seems to be part of the job description of heads of powerful countries--especially in their dealings with powerless states.

Just think of the mealy-mouthed statements that have come out the American White House in response to the killings of several civilians on a humanitarian journey to Gaza by Israeli security this week. This reminds me of Peter Tosh, the legendary Jamaican Reggae star, who, in his memorable track "Equal Rights," sang: "EVERYONE IS CRYING OUT FOR PEACE, NO ONE IS CRYING OUT FOR JUSTICE!

Saturday, May 29, 2010

Who Knows Tomorrow - the Projects


Interior of Friedrichwerdersche Church, with Shonibare's installations toward the altar and in the choir


Colonel Tarleton shooting the pheasant


spunky colonel Tarleton


The pheasant; the radiating strings take on the aspect of sacred rays



Yinka Shonibare installation, The Scramble for Africa in the Church Museum choir. It looks like Africa is being served for supper


*All photos copyright: Chika Okeke-Agulu


Pascale Marthine Tayou installation at the Neue Nationalgalerie


The Colon figures before installation


Flag installation with two Colon figures


Four Colon figures just after installation


"African" flags (each flag is a modified version of the national flag one of Africa's 54 countries)

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El Anatsui at the Alte Nationalgalerie, Berlin. Installation in progress.




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Antonio Ole's work in progress, at the Hamburger Bahnhof, Nationalgalerie, Berlin














Wednesday, May 5, 2010

Ossie Enekwe & Esiaba Irobi - In Memoriam

This has been a terrible week. If it was night it would be the darkest in this spring of harvests; harvests of some of the finest minds to come out of the University of Nigeria, Nsukka.

Nsukka, located in a valley formed by seven grassy hills in Eastern Nigeria is where I became an artist, and with Nsukka, I have a long story of love and pain. It is there that I met Ossie Enekwe, the poet, scholar and literary critic who chaired the Drama program, and Esiaba Irobi whose blood burned with thespian fire. Both died this week. And Omabe, the resplendent cousin of the sun and the brother of the leopard who descended annually from the hills of Nsukka, must be mourning tonight. And so am I, unworthy mortal, aged overnight by grief.

My youthful forays into acting--in the company of Greg Mbajiorgu, Richie Achukwu, Kalu Ikeagwu, Nnorom Azuonye and many great friends--were given the needed ballast by participation in the original casts of Esiaba most memorable works presented at Nsukka's Arts Theatre in the late 1980s. And I became a poet watching Esiaba perform his poems I mostly remember for their erotic lyricism at the epochal, short-lived phenomenon called "The Anthill" (managed by Gbugbemi Amas and Chinenye Mba-Uzoukwu) outside the walls of the university, up on a scraggy hill. He was simply known as the Minstrel.

The Harmattan came in the 1990s and blew that Nsukka asunder, and we scattered to the four winds, clutching memory pictures of a time when Ana, the goddess of creativity, gathered around her countless children. Now, far away from Nsukka's tropical evening, I hear Enekwe's calm voice as he strums his guitar--Ossie Melody he was called. I hear Esiaba exclaim:

"When you set out for Mabera
Ask that your way be long
Your path a field of stones
Hedged by nettles, thorns, twigs
....
When you set out for Mabera
Make loneliness your companion
Tighten the tendons of your spirit
Until they blink
like the eyelids of history"*
....

* (from the poem "Mabera" by Esiaba Irobi)

And my grip tightens on a clump of dust.

Tuesday, May 4, 2010

Bisi Silva at Newark Museum

Bisi Silva, the Nigerian curator who has brought much needed life to the somnolent Lagos art scene will be at the Newark Museum this Friday. She will be speaking about her work at the Centre for Contemporary Art, Lagos. She will also have a public conversation with my good friend and colleague, Christa Clarke who, for her part, has done a lot for (contemporary) African art there at the Newark Museum. It should be a worthwhile event, especially for anyone interested in the field of contemporary African art.

Title: Contemporary Art in a Transnational Age: A Conversation with Bisi Silva
Date: May 7, 2010
Time: 7 – 8 p.m. (Reception begins at 6 p.m.)
Venue: Newark Museum, Newark, NJ

*(Free. Pre-registration required, call 973-596-6550. See Newark Museum website for more information.)