EMPIRE LINES

Artist Serge Attukwei Clottey joins EMPIRE LINES live at the Eden Project in Cornwall, to discuss Afrogallonism, uplifting communities with upcycled plastic waste, and how the traditional Ghanaian harvest festival of Homowo challenges colonial hierarchies of gender. Accra-based artist Serge Attukwei Clottey works across installation, performance, photography, painting, and sculpture, exploring personal and political narratives rooted in histories of trade and migration. He refers to his practice with yellow plastic, Kufuor-era, cooking oil cans as ‘Afrogallonism’, using found and recycled materials to create a dialogue with the city’s cultural history and identity, whilst exploring the meanings that are invested in everyday objects, and how they circulate in local and global economies. Referencing Ghana’s historic wealth, a region known as the Gold Coast during British colonial rule during 19th and 20th century, Serge’s installations like Follow the Yellow Brick Road (2015-2020) also serve a practical function, in creating wealth and employment for the local community. On display alongside his existing work at the Eden Project is a new audio piece, a remembrance of famine that once befell pre-colonial Ghana, and is once again impacting farmers as a consequence of climate change. Serge talks about his family’s migration from city of Jamestown/Usshertown, in British Accra, to La (Labadi), on the coast, and how water has long infiltrated his practice. We discuss the realities of resource extraction and consumption captured by his work, connecting with the likes of Romauld Hazoumè, El Anatsui, Zina Saro-Wiwa, and Wura-Natasha Ogunji. Serge shares his interest in political performance art, and collaborating with young people. We open My Mother’s Wardrobe (2015-2016), in which Serge invited men to wear women’s clothes and make-up to perform everyday and ritual tasks, disrupting conventions of gender and sexuality imposed upon and appropriated by many African countries during colonial rule. And Serge talks about his commissions across the world, from Desert X, to Kew Gardens, and the National Portrait Gallery in London, where his Windrush Portrait of Mr. Laceta Reid proudly stands. This episode was recorded live at Reclaim - a weekend of talks and events at the Eden Project in Cornwall, curated to support mental and planetary wellbeing - in January 2024: edenproject.com/visit/whats-on/reclaim Acts of Gathering runs at the Eden Project in Cornwall until 14 April 2024. For more, hear curators Misha Curson and Hannah Hooks in the episode on Learning from Artemisia, Uriel Orlow and Orchestre Jeunes Étoiles des Astres (2019-2020): pod.link/1533637675/episode/0e8ab778b4ce1ad24bc15df3fec5a386 For more about African masks and performance, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern in London: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 About Ashanti Hare, and the south-west arts ecology, hear curator Ashish Ghadiali on Radical Ecology’s recent exhibition at KARST in Plymouth: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 For more ‘African’ textiles, hear Dr. Chris Spring on Thabo, Thabiso and Blackx, Araminta de Clermont (2010): pod.link/1533637675/episode/a32298611ba95c955aba254a4ef996dd And on sea/water as a historical archive, listen to these episodes on: John Akomfrah’s Arcadia (2023), at The Box in Plymouth: pod.link/1533637675/episode/31cdf80a5d524e4f369140ef3283a6cd Julianknxx’s Chorus in Rememory of Flight (2023), at the Barbican in London: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 WITH: Dr. Serge Attukwei Clottey, Accra-based visual artist. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

22 Feb 20241h

Artist - and winner of Artes Mundi 10 - Taloi Havini mines connections between extractive industries in the Pacific Islands, and Wales. documenting the environmental damage caused by colonial, and patriarchal, relations with land, in Habitat (2017). The Panguna copper mine in Bougainville, Papua New Guinea was the largest in the world when it first opened in 1972. Run by the Australian mining company, Conzinc Riotinto, it symbolises how legacies of extraction - in colonialism, and contemporary capitalism - are often entangled. Born in Bougainville, and now based in Brisbane, Taloi Havini’s own multidisciplinary artistic practice is informed by her matrilineal ties to her land and communities. In Habitat, a three-channel, immersive video installation, Taloi follows the journey of a woman called Agata, as she continues to investigate the legacies of resource extraction in Panguna and the Pacific region. Moving from lush greens to lurid blue waters - unnatural colours which Taloi hasn’t tampered with in film - we trace the poisonous tailings, waste products of mining, that have destroyed the landscape. Taloi talks about how mining has ‘robbed’ people of sustainable ways of living, and how communities have come together to resist the imposition of destructive, gendered relationships to land. She describes various women as leaders, and shares her research-based practice, based on the intergenerational transfer of Indigenous Knowledge Systems,. Taloi details her work in ‘countermapping’, turning the same tools used by 19th century British settler-governments in Australia and New Zealand (Aoterea) for colonial discovery, plunder, and control, to showing evidence for those seeking environmental compensation. She also shares how her communities asked her to use drones, challenging the temporal othering of Indigenous identities. Acknowledging her particular identity from the Nakas Tribe of Hakö people, Taloi connects with the practices of other Pacific artists, and details her forthcoming curatorial project, Re-stor(y)ing Oceania at Ocean Space, part of the Venice Biennale. On her announcement as winner of Artes Mundi 10, the UK’s largest contemporary art prize, she connects with her contemporaries - including John Akomfrah, Rushdi Anwar, Alia Farid, and Naomi Rincón Gallardo - and the solidarity shared by this year’s participants, most of whom come from areas of conflict, in seeking peace with respect to the situation in Palestine. She also shares how the work translates as it travels, challenging stereotypes like the ‘tropicalisation’ of Pacific identities, by platforming everyday Indigenous and Black experiences and identities. And at the Prize announcement in Cardiff, we discuss how Habitat resonates in local communities in Wales, a nation with its own particular relationship with oil, gas, and coal resource extraction. Artes Mundi 10 runs at venues across Wales until 25 February 2024. RE/SISTERS: A Lens on Gender and Ecology ran at the Barbican in London until 14 January 2024, and travels to FOMU in Antwerp, Belgium until 14 August 2024. WITH: Taloi Havini, multidisciplinary artist based in Brisbane, Australia. She uses a range of media including photography, audio–video, sculpture, immersive installation and print, to probe intersections of history, identity, and nation-building within the matrilineal social structures of her birthplace in Arawa, the Autonomous Region of Bougainville in Papua New Guinea. Taloi is the curator of Re-Stor(y)ing Oceania: Latai Taumoepeau, Elisapeta Hinemoa Heta at Ocean Space, Venice (2024), and winner of Artes Mundi 10 (AM10), the UK’s leading biennial exhibition and international contemporary art prize, presented with the Bagri Foundation. ART: ‘Habitat, Taloi Havini (2017)’. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

8 Feb 202418min

Jamie Ruers, Mariano Ben Plotkin, and Mariano Ruperthuz Honorato, from the Freud Museum in London, reinterpret psychoanalysis through 20th century Latin American pop culture, relocating the practice in radio shows, surrealist photographs, women’s magazines, and comic books from the 1960s, like Freud: El Mago de los Sueños (The Wizard of Dreams). Psychoanalysis is often considered a practice of the Global North, starting in Sigmund Freud’s home in Vienna before World War II. But South America has been at the forefront of the practice since the end of the 20th century, where it is is even more popular than Europe. So who are the figures who led - and simultaneously developed - such thinking? And how did Buenos Aires come to have the highest proportion of psychoanalysts in the world? Curator and researchers Jamie Ruers, Mariano Ben Plotkin, and Mariano Ruperthuz Honorato share how psychoanalysis permeated all layers of society, especially pop culture. They draw on existing traditions and new trends like magical realism, associated with Jorge Luis Borges. We discuss the ‘cultural complex’ of dreams and sex, and the difference between Freudism and psychoanalysis, highlighting histories of exchange and reinterpretation, agency and appropriation for economic gain, rather than simplying adoption or propagation, of Freud’s thinking. Beyond Spanish, Portuguese, both languages of colonial import, we consider the many ways Freud’s works were translated, and some of those he failed to credit, whose contributions have been written out of history, like Peruvian psychiatrist Honorio Delgado, Julio Pires Porto-Carrero, founder of the Society of Brazilian Psychoanalysis (1928), and disciple of Juliano Moreira, the son of a Black slave who picked up Freud’s ideas and circulated them throughout Brazil. We hear Gastão Pereira da Silva’s radio programmes, authored ‘in the vein of Dr. Frasier Crane’, and read women’s magazines like Idilio, illustrated by exiles like the German-Argentinian photographer Grete Stern, whose surrealist images highlight the intellectual interests and engagements of women, and shared experiences of migrants across continents. Plus, contemporary artworks and interventions in Freud’s former home in London challenge the exotification of South America, connecting the thoughts, feelings, and emotions of people both past and present. Freud and Latin America runs at the Freud Museum in London until 14 July 2024. For more from the Freud Museum in London, hear: Co-curators Miriam Leonard and Daniel Orrells on a Red-Figure Hydria of Oedipus and the Sphinx, Ancient Greece (380-360BCE), on EMPIRE LINES: pod.link/1533637675/episode/7a89c8d48acda4147d3d51c5a065b942 And Professor Craig Clunas on a Pierced Jade Scholar Screen, China (19th Century), on EMPIRE LINES: pod.link/1533637675/episode/44861b4a5e6a32380693ec6622210890 WITH: Jamie Ruers, art historian. Mariano Ben Plotkin and Mariano Ruperthuz Honorato, authors of Estimado Dr Freud: una cultura historia del psicoanálisis en América Latina (Edhasa, 2017), provides the narrative which guides the exhibition. They are the curator, and researchers, of Freud and Latin America. ART: ‘Freud: El Mago de los Sueños (The Wizard of Dreams), Vidas Ilustres Comic Book (1963)’. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

1 Feb 202417min

Jana Manuelpillai revisits the Madras College of Arts and Crafts, the first British colonial art school set up in India, through the post-independence practice and striking monochrome works of A.P. Santhanaraj. The Madras College of Arts and Crafts in Chennai, Tamil Nadu, was the first art school in India, set up by the British colonial administrator in 1850. Post-independence in 1948, as the Government College of Arts and Crafts, teachers like K.C.S. Paniker and S. Dhanapal, and A.P. - Andrew Peter - Santhanaraj, transformed from the School, from its ‘Kensington style’ education, to focus on Indian influences. Historical attention has focussed on schools in Bombay, Baroda, Calcutta, and Delhi, but curator Jana Manuelpillai suggests that this actually let a more ‘authentic’ southern idiom to flourish - something he continues to explore with contemporary artists. Marking 55 years since Madras State was renamed Tamil Nadu, Jana shares footage from his meetings with the Santhanaraj, and outlines his plural influences, from Indian fresco painting to the art of Jackson Pollock. We discuss the diversity and deep practice of traditional religions in the south, and the differences between European primitivism and nativism, ‘othering’ the likes of Pablo Picasso. Plus, we discuss the globalisation of contemporary art markets, challenging London, New York, and Paris’ primacy, and the ‘stamps of approval’ they’ve granted diaspora artists past. A.P. Santhanaraj (1932-2009): Modern & Contemporary Art from South India ran at the Brunei Gallery, SOAS in London until 23 September 2023. You can find more at the Noble Sage Art Collection, online and in London. For more South Asian art histories, hear curator Hammad Nasar on Did You Come Here To Find History?, Nusra Latif Qureshi (2009), on EMPIRE LINES: pod.link/1533637675/episode/f6e05083a7ee933e33f15628b5f0f209 And read more about the exhibition, Beyond the Page: South Asian Miniature Painting and Britain, 1600 to Now, at MK Gallery and The Box, in my article in gowithYamo: gowithyamo.com/blog/small-and-mighty-south-asian-miniature-painting-and-britain-1600-to-now-at-mk-gallery WITH: Jana Manuelpillai, Director of The Noble Sage Art Collection, which specialises in Indian, Sri Lankan and Pakistani contemporary art. He is the curator of A.P. Santhanaraj (1932-2009): Modern & Contemporary Art from South India. ART: ‘The Madras College of Arts and Crafts, India (1850-Now)’. IMAGE: Installation View. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

25 Jan 202413min

Interdisciplinary artist Osman Yousefzada crafts stories of working-class migration experiences, unwrapping the influence of his mother and many other textile makers in his diaspora community in Birmingham. From large-scale textile works to prints and drawings, Osman Yousefzada’s practice considers representations and reimaginings of working class migration experience. Growing up in a British-Pakistani diaspora community in Birmingham in the 1980s, Yousefzada’s craft is grounded in his childhood experiences, watching his mother, ‘a maker’ of shalwar kameez and other textiles. A new exhibition at Charleston in Firle draws connections between these domestic, private spaces, the Bloomsbury group and fashion, and the artist’s public practice. We look at a new series of works on paper, on public display for the first time, inspired by characters in the Falnama, a book of omens used by fortune tellers in Iran, India and Turkey during the 16th and 17th centuries. At the time, people seeking insight into the future would turn to a random page and interpret the text; Yousefzada transposes this to the present day, to tell stories of ‘good’ and ‘bad’ migrants, and recreate such talismans that protect or heal and work as guardians of the immigrant experience. The artist describes his large-scale textile series, Queer Feet, Afghan rugs, topped with ceramic works, and embroidered with found objects that reference Islamic and Asian design histories. We discuss his expanded, Sufistic, spiritual practice. We also consider the healing potential of museums, and the various media used by the artist in storytelling, with his book, The Go-Between (2022). Osman Yousefzada runs at Charleston in Firle until 14 April 2024. For more, you can read my article in gowithYamo: gowithyamo.com/blog/osman-yousefzada-at-charleston-in-firle For more about the material power of embroidery, listen to curator Rachel Dedman on an UNRWA Dress from Ramallah, Palestine (1930s) at Kettle's Yard in Cambridge and the Whitworth in Manchester, on EMPIRE LINES: pod.link/1533637675/episode/92c34d07be80fe43a8e328705a7d80cb WITH: Osman Yousefzada, interdisciplinary artist and research practitioner at the Royal College of Art, London. He is a visiting fellow at Cambridge University, and Professor of Interdisciplinary Practice at the Birmingham School of Art. His first book, The Go-Between (2022), is published by Canongate. Alongside his solo exhibition at Charleston, he exhibits in group exhibitions including Embodiments of Memory at the Potteries Museum and Art Gallery in Stoke-on-Trent and Design Museum’s REBEL, and his Migrant Godx can be found at Claridge’s Art Space, Blackpool’s Grundy Art Gallery, and soon, Camden Art Centre, as part of Bloomberg New Contemporaries 2023. He will exhibit at the 60th Venice Biennale, and the V&A in London, in 2024. ART: ‘Queer Feet, Osman Yousefzada (2023)’. SOUNDS: ‘Home Grown - Osman Yousefzada x Selfridges’. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

18 Jan 202413min

Curators Hannah Hooks and Misha Curson connect global environments and food practices, from guerrilla gardeners in the Democratic Republic of Congo, to foragers in Palestine, challenging extractive, colonial approaches to land through contemporary art at the Eden Project in Cornwall. Artemisia afra – or African wormwood – is traditionally used as a medicine to prevent and treat malaria. This knowledge has long been passed down through generations and communities via music and craft, both marginalised in Western rational thought. In the 1970s, research to develop new anti-malarial drugs led to the discovery, extraction, and patenting of Artemisin - already used for two thousand years in China and Asia. Whilst still cultivated by some women’s cooperatives in the Democratic Republic of Congo, the plant, and its producers, have been continually suppressed and banned, by the Belgian colonial administration in the 19th century, to the World Health Organisation (WHO) and Big Pharma businesses. With a multimedia installation of film, song, and tea tastings, Swiss artist Uriel Orlow seeks to platform these ongoing practices. He joins other contemporary artists in Acts of Gathering, a new exhibition at the Eden Project in Cornwall which explores how our relationship with food is linked with the land, environment, and labour that goes into its production. Harvest festivals in Homowo in Ghana and Guldize in Cornwall link the different practices of Serge Attukwei Clottey and Jonathan Baldock. Meanwhile, in Jumana Manna’s film FORAGERS (2022), we see how Israeli nature protection laws prohibit the foraging of native plants, alienating Palestinians from their land, and sustainable harvesting practices. Curators Misha Curson and Hannah Hooks connect traditions across cultures, acknowledging how human and planetary health are also entwined. We discuss legacies of extraction in science, botany, and renewed mining in Africa. Misha and Hannah suggest why some local methods are classed (and commodified) as sustainable, while others are marginalised by globalisation, industrial farming, and neoimperial hierarchies. Plus, we discuss the opportunities Eden presents for public participation, access, and activation as a non-conventional museum space, its position within the wider arts ecology of south-west England, and its own regeneration, as a former clay mine. Acts of Gathering runs at the Eden Project in Cornwall until 14 April 2024. For more, join EMPIRE LINES in conversation with artist Serge Attukwei Clottey at Reclaim - a weekend of talks and events at Eden, curated to support mental and planetary wellbeing - which takes place from 27-28 January 2024: edenproject.com/visit/whats-on/reclaim For more about the arts ecology of south-west England, hear curator Ashish Ghadiali on Radical Ecology’s recent exhibition at KARST in Plymouth, on EMPIRE LINES: pod.link/1533637675/episode/146d4463adf0990219f1bf0480b816d3 And Morad Montazami, curator of the Casablanca Art School (1962-1987), currently at Tate St Ives in Cornwall: pod.link/1533637675/episode/db94bc51e697400326f308f6c6eaa3c6 For more on music, memory, and history, hear Barbican curator Eleanor Nairne on Julianknxx’s Chorus in Rememory of Flight (2023), on EMPIRE LINES: pod.link/1533637675/episode/1792f53fa27b8e2ece289b53dd62b2b7 And on the globalisation of 'African' masks, listen to Osei Bonsu, curator of A World in Common: Contemporary African Photography at Tate Modern: pod.link/1533637675/episode/386dbf4fcb2704a632270e0471be8410 WITH: Misha Curson and Hannah Hooks, Senior Arts Curator and Arts Curator at the Eden Project, Cornwall. ART: ‘Learning from Artemisia, Uriel Orlow and Orchestre Jeunes Étoiles des Astres (2019-2020)’. SOUNDS: Orchestre Jeunes Étoiles des Astres. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

11 Jan 202416min

Curator Matthew Barrington marks 220 years since the Haitian Revolution, the only successful slave uprising, unreeling how resistance continues with a series of films, from the first zombie horrors, to contemporary Caribbean and diasporic documentaries. The Caribbean island of Haiti is often reduced to binary representations, of the 18th century Haitian Revolution and its iconic leader, Toussaint Louverture, or environmental disasters, with the earthquake of 2010. But resistance has long been central to Haitian identities and the popular imagination - past and present. Since 1492, when Christopher Columbus arrived on Hispaniola, now Haiti and the Dominican Republic, Spanish, Dutch, English, and French colonists all attempted to ‘settle’ the land. The Revolution was the first and only successful uprising of self-liberated slaves against French colonial rule in the island region of Saint-Domingue, a rebellion that still resounds across the islands and diasporas today - whether in the words of Naomi Osaka, or filmmakers like Esery Mondesir, who say ‘we’ve been screaming Black Lives Matter (#BLM) for over 200 years’. Marking 220 years since the Revolution, and formation of the first independent Black republic on 1 January 1804, Barbican Cinema curator Matthew Barrington shares some of the ways Haiti is depicted on screen. We cover 70 years of films, travelling from ‘exotic’ plantations to more everyday scenes, starting with Victor Halperin’s White Zombie (1932), which birthed the horror genre. Drawing on Bela Lugosi’s portrayal of factory owner Murder Legendre, and own othering, we discuss how such movies often sensationalised local spiritual practices as ‘superstitions’, and reinforced racial and gender hierarchies with their Western European-centric gaze. But they can also be read more subversively, in relation to colonialism, as evidence of forced labour, slavery, and capitalist extraction. We find similar tropes in gothic and body horrors, from vampires to killer plants, and connect with post-colonial landscapes across the Caribbean like Cuba. Contemporary filmmakers also grapple with the ‘ghosts’ of colonialism and capitalism. Matthew explains how the continued extraction of wealth from the islands, many of which were forced to pay reparations to their former enslavers, has perpetuated political instability, forcing many into exile or to migrate for economic opportunities. He shares classic films by Raoul Peck and Arnold Antonin, connecting with Third Cinema, and more experimental works by award-winning makers like Miryam Charles and Gessica Généus. Exploring the occupation and ongoing intervention by the US, and the dictatorship of Jean-Claude Duvalier in the 1970s and 1980s, we see how the distance of diasporas often creates the conditions for rebellion, protest, and radical community-building today, as well as pluralising perspectives of well-known landscapes, like New York City. Finally, we discuss the importance of art, visual culture, and Carnival in the context of this ongoing underdevelopment and high illiteracy rates in Haiti, and how public institutions like the National Portrait Gallery will mark this vital anniversary. Visions of Haiti ran at the Barbican Cinema in London throughout October 2023. WITH: Matthew Barrington, film curator and researcher. Matthew is the Manager of the Birkbeck Institute for the Moving Image in London, a programmer for the Essay Film Festival and the London Korean Film Festival, and has worked with the Open City Documentary Festival. He is also a curator of cinema at the Barbican Centre, including the series, Visions of Haiti. ART: ‘White Zombie, Victor Halperin (1932) (EMPIRE LINES x Visions of Haiti, Barbican Cinema)’. SOUNDS: ‘White Zombie, Victor Halperin (1932)’. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

5 Jan 202417min

Photographer Armet Francis documents African diasporic cultures across ‘The Black Triangle’, and captures the co-founding of the Association of Black Photographers in London, now Autograph ABP, 35 years ago. For over four decades, Jamaican-British photographer Armet Francis has taken portraits that celebrate the resilience and survival of African diasporic cultures. Having immigrated with his family as a young child in the 1950s, he was part of the post-Windrush generation, acutely aware of his ‘cultural displacement’ and ‘political alienation’ as the only Black child in his school in London Docklands. Drawing on the transatlantic slave trade route, between Africa, the Americas, and Europe, Armet developed the idea of ‘The Black Triangle’ to guide his photographic practice from 1969, as a means to connect with the rich and diverse pan-African communities. Armet details his ‘social documentary’ approach, his experiences as one of the first Black photographers to shoot fashion, and how he challenged exotic tropes in commercial, white photography and advertising. He shares images of Notting Hill Carnival, Brixton Market, and tributes to those who protested the injustice of the New Cross Fire in 1981. Armet retells the unlikely story of taking Angela Davis’ photograph at the Keskidee Centre, his engagement with activists like Malcolm X and Stuart Hall, and how he had to ‘become Black’ before he could becoming politically conscious and active in civil rights movements. Armet was also the first Black photographer to have a solo exhibition at The Photographers' Gallery in London when The Black Triangle series was exhibited there in 1983. Five years later, he co-founded the Association of Black Photographers, now Autograph ABP, where he has represented the series in 2023. To mark both anniversaries, he talks about what it was like founding the institution, working with the likes of David A Bailey, Mark Sealy, and Charlie Phillips, and his ongoing practice in the archives, keeping record of the important contributions - and canons - of British history. Armet Francis: Beyond The Black Triangle runs at Autograph ABP in London until 20 January 2024. Hear from many more artists and photographers who’ve worked with Autograph on EMPIRE LINES: Ingrid Pollard on Carbon Slowly Turning (2022) at Turner Contemporary in Margate: pod.link/1533637675/episode/e00996c8caff991ad6da78b4d73da7e4 Curator Florence Ostende on Carrie Mae Weems’ series, From Here I Saw What Happened and I Cried (1995–1996), at the Barbican in London: pod.link/1533637675/episode/b4e1a077367a0636c47dee51bcbbd3da And curator Alice Wilke on Carrie Mae Weems’ Africa Series (1993), at the Kunstmuseum Basel: pod.link/1533637675/episode/d63af25b239253878ec68180cd8e5880 Johny Pitts on Home is Not a Place (2021-Now) at The Photographers’ Gallery in London: pod.link/1533637675/episode/70fd7f9adfd2e5e30b91dc77ee811613 John Akomfrah on Arcadia (2023) at The Box in Plymouth: pod.link/1533637675/episode/31cdf80a5d524e4f369140ef3283a6cd For more from Autograph’s contemporary programme, hear photographer Hélène Amouzou and curator Bindi Vora on Voyages (2023), on EMPIRE LINES: pod.link/1533637675/episode/a97c0ce53756ecaac99ffd0c24f8a870 WITH: Armet Francis, Jamaican-British photographer. He is a co-founder of the Association of Black Photographers in London, now Autograph ABP. ART: ‘The Black Triangle, Armet Francis (1969) (EMPIRE LINES x Autograph)’. EDITOR: Nada Smiljanic. PRODUCER: Jelena Sofronijevic. Follow EMPIRE LINES on Instagram: instagram.com/empirelinespodcast And Twitter: twitter.com/jelsofron/status/1306563558063271936 Support EMPIRE LINES on Patreon: patreon.com/empirelines

28 Des 202315min