Victor Ehikhamenor, I am Queen Idia, the Angel of Kings, 2017. Copyright the artist, courtesy of Tyburn Gallery.
Kehinde Wiley, Fishermen Upon a Lee-shore, in Squally Weather (Zakary Antoine), 2017.
Omer Ba, Amazone-Behanzin, 2017. Courtesy of Hales Gallery.
From a European perspective, the affirmation of cultural identities on display in these shows is important in London as it is anywhere in the world. There’s a dangerous lack of strong political opposition to the rhetoric of the far right just now, and the contribution of artists is vital to broadening and enriching the context in which significant debate and action can occur. Ba, Ehikhamonor, and Wiley aren’t interested in sloganeering, or in producing pre-digested protest art; instead they’re asserting their presence and cultural sovereignty, and reminding us that the climate of xenophobia in Europe is nothing new.
Kehinde Wiley: In Search of the Miraculous is on view at Stephen Friedman Gallery, London, through January 27, 2018. Omer Ba: Supernova is on view at Hales Gallery, London, though December 9, 2017. Victor Ehikhamenor: In the Kingdom of this World is on view at Tyburn Gallery, London, though January 20, 2018.
You can read much more about these artists at Garage.
I totally get it. I’m all for slogans and protest art, but I there’s also a lot of power in just being yourself, especially when a lot of powerful people want to hide or outright eliminate you.
Joseph:
Yeah, just that. I think it’s important, on many levels, to stand firm in representing aspects of your culture, because so many people are simply unaware, and those people wouldn’t grok a lot of protest art. Have to understand cultures first, and the beauties and realities of those cultures and people.