September News//Letter 2021: Art - Beyond Black and White

 

 Dear friends, colleagues, culture & art lovers,

I hope this email finds you well!

Please, allow me to share with you my latest newsletter.

For more on my writing and reflections about art, multiculturalism, post-colonial history, activism, here are a few links and events to come.

Firstly, my recent piece for The Reader's Digest ahead of a fantastic season in England's main art venues: 

5 pioneering Black British artists

These Black Britons have produced some of the most thought-provoking and envelope pushing art for decades 

This year sees an array of exhibitions by leading Black British artists, and as the writer in residence at Arnolfini in Bristol, Melissa Chemam shares her selection of five ground-breaking Black British artists. Read here. 

TMR13 - ORIGINS

Meanwhile... Do have a look at latest issues of @TheMarkazReview:

Read about notions of displacement & indigeneity from all over the Greater Middle East in this incredible edition:

https://themarkaz.org/

With texts from Istanbul, Morocco, Turkey, Iran... And original stories reflecting Amazigh, Armenian, Bedouin, Kurdish, Sephardic, Black Iranian identities, and other diverse cultures of the MENA.

Working-Class Writers Festival

Later in October, a dynamic new literary festival of national significance will also take place in Bristol in October 2021.

 It aims to enhance, encourage and increase representation from the 'working class' across the country, whilst connecting authors, readers, agents and editors. 

The artistic director is Natasha Carthew, an award-winning working-class writer and poet, a passionate campaigner for working-class representation in the arts.

I've been asked to be part of it! I'll run a workshop on 'Writing in English as a Second Language', on Saturday 23 October here in Bristol, at the Knowle West Media Centre.

I'll also be part of the panel discussion:

'Writing for Change: 

Can words truly inspire a better world?' 

Come over at Watershed on Sunday afternoon. 

I'll also run a writing workshop at the Knowle West Media Centre on Saturday: details on their website soon. 

This event is partnered by Bristol Ideas, Watershed and Knowle West Media Centre. 

Here, There... Evenwhere: African & Diaspora Artists at Arnolfini 

 

And finally, as some of you may know, I worked for a year on a book with and for the art gallery Arnolfini, here in Bristol, as their writer in residence. I'm so excited to share the result soon!

The art book will finally be released later in October in PDF and physical copies, and we are organising online events, with the gallery and UWE, to generate a wider discussion.

The first one will be posted on Arnolfini's website. 

Some of the artists mentioned are from the UK; others were born in the USA, Trinidad, Jamaica, Montserrat; others from Sudan, Algeria, Morocco, Ethiopia or Ghana... 

Most of them had to first work in the margins, or to form their own groups and find their personal space to be exhibited and deliver another vision of the arts / the world we live in.

These are themes that have haunted my work as a journalist, researcher and writer since the mid-2000s at least...

'Still I Rise', Arnolfini, 2019

Since the 2000s, many of these artists have been simultaneously exhibiting in London, Liverpool, Nottingham, New York, Berlin, Venice and further. John Akomfrah, Veronica Ryan, Keith Peiper, Donald Rodney, Sonia Boyce, Hassan Hajjaj, Frank Bowling, etc.

That's why I'd love to create dialogues and generate further encounters with African artists exhibiting in other parts of the world, when this book is out. 

The book will be available in PDF for educational purposes and in physical copies at Arnolfini's bookshop. 

Do get in touch if you're interested in reading and/or taking part in our wider discussion! 

Details on Arnolfini's website here. 

Bristol Street Art: Book Launch

As part of an exhibition at M Shed, Bristol's history museum, I've been asked to write a chapter in the 'Vanguard' Book about the first graffiti artists in Bristol in the first part of the 1980s. The producers of the show organise a book launch and have invited the legendary John Nation and me to talk about the scene. 

It should have been on Thursday 30 September 2021, at Waterstones, Bristol - Galleries - but due to an artist being ill, it's postponed to late October.

Details here and intro: 

Join us for an in-depth exploration of the evolution of Bristol street art, accompanying the exhibition at Bristol MShed. Contributors Melissa Chemam and John Nation will lead a reading and Q&A before signing copies of the book. Prolific artist Eco, whose piece 'Helloblue' features in the exhibition, will be launching and signing limited edition prints live on the night. 

The book navigates the historic triumphs and hardships of street art's anarchist origins in the 1980s and 90s, the explosion of work in the early 2000s and its rise beyond Bristol to engage with the broader global conversation. 

In the meantimes, you can also find my first book there, Massive Attack: Out of the Comfort Zone. 

And for more on the Bristol's street art scene, here is my recent article for Reader's Digest:

Rediscovering Bristol's original graffiti artists

In the 80's, Bristol was one of the pioneering graffiti art hotspots in the world. A new exhibition at the M Shed museum in Bristol pays tribute to its history. Read here. 

-

From this month of October, I'm now teaching 5 (!) different modules in journalism, media production and creative industries - including lectures about music journalism, films, news programmes...

It's quite a commitment and I'm grateful to be trusted in these tasks, to learn so much along the way.

I still have a few projects in writing and podcasts coming up... More about them soon.

Feel free to get in touch if any of these ideas above speak to you.

You can also follow my work on Twitter, LinkedIn, via my Facebook page - Melissa on the Road, or my blog. 

Many thanks for your attention! 

With my very best wishes,

melissa 

-

Melissa Chemam

Writer, Journalist, Researcher

Senior Lecturer in Media at UWE Bristol 

Writer in residence at Arnolfini Art Gallery

W: https://sites.google.com/view/melissachemam

Lonely Guest: Tricky's new project on Lonely Guest (False Idols Records/Tricky)

 

Tricky's latest project is ambitious to say the least!

Listeners can expect to hear lots of different styles and voices throughout the course of the album, including the legendary Lee “Scratch” Perry, who passed away recently, and Bristol's Idles lead singer, Joe Talbot. 

Coming out on  22 October via False Idols Records, the new 'Lonely Guest' album features collaborations with Marta, Joe Talbot, Oh Land, Murkage Dave, Lee “Scratch” Perry, Rina Mushonga, Paul Smith, Kway and Breanna Barbara. 

Marta - aka Marta Gałuszewska - is a big part of the album. Known for winning The Voice in Poland in November of 2017, she appears on four out of the ten tracks.

Listen to 'Pre War Tension'- ft. Joe Talbot, Marta, Tricky

 Listen to - 'On A Move' ft. Kway 

Video by Neirin Best 

-

Tracks taken from the upcoming album: 'Lonely Guest' by Lonely Guest 

Out on October 22nd on False Idols. 

Preorder : https://falseidols.lnk.to/LonelyGuest  

False Idols: https://falseidols.org/ / https://www.instagram.com/_false_idols_/

'No Woman, No Cry': Remembering Stephen Lawrence

 

Remembering #StephenLawrence today with this painting 'No Woman No Cry' by Chris Ofili, inspired by him and his mother. More on artist, painter Chris Ofili in my coming piece for Reader's Digest...

From Tate: 'No Woman, No Cry'

This painting was made by the British artist Chris Ofili in 1998 when he was living and working in London.

The title of this work is the name of a 1974 song by the Jamaican reggae musician Bob Marley that entreats a female listener not to be sad.

The phosphorescent inscription in the painting indicates that the crying woman depicted is Doreen Lawrence (now Baroness Lawrence of Clarendon OBE), the mother of Stephen Lawrence, who was murdered as a teenage boy in an unprovoked racist attack in London on 13 September 1993.

Martina Topley-Bird - 'Forever I Wait' is out

 

I've heard this long live dozens of times in 2016 in Massive Attack's 'Ritual Spirit' tour. The then-temporary title was 'Clock Forward'. 

Martina is one of their best vocalists and collaborators. And Tricky's first and most magnificent one. I was lucky to interview her when I wrote the English version of my book about the band and Bristol, and highly value her music and her journey.

Very happy the track was finally re-produced and released on her 4th album, 'Forever I wait', released on Friday 10 September.

A wonderful album I highly recommend!

'Collide'

'Collide' · Martina Topley Bird Album: 'Forever I Wait', out this week ℗ Martina Topley-Bird Released on: 2021-09-10 Producers, Composers, Lyricists: Martina Topley Bird, Robert Del Naja, Euan Dickenson, Natasha Graham

Engineer: Ian Caple, Jean-Pierre Chalbos

-

Here is a good recording of the liver version from 2016:

-

Review of the album by a friend, Mark Kidel, on theartsdesk:

Martina Topley-Bird, who started out doing vocals for Tricky’s first single "Aftermath" aged 15, has matured.

On her fourth solo album, self-produced, she builds confidently on the dreamy vocal lines that were essential to the Bristol sound of the '90s.

On her previous solo ventures, it seemed as if she were in search of an identity, a rock chick one moment and a trance-weaver the next. She has definitely found herself: bathed in soft-edged dubby sounds that suit a sensual voice that makes a virtue of reverb, this is music that floats and supports Martina’s naked expression of vulnerability.

There are collaborations with Robert del Naja that could be outtakes from a Massive Attack album not yet made, Martina having worked as a live and studio vocalist for the Bristol band for half a dozen years. She has chosen her other collaborators with all the right intuitions – Christoffer Berg, Rich Morel, Benjamin Boeldt and Tialdia – all of them perfectly attuned to her breathy and soulful vocals.

Martina is a master of introversion, creating chiaroscuro songs that explore her inner states, playing darkly with existential angst and an ever-present sense of foreboding. All of this was present in Tricky’s first album Maxinquaye (1997), and it could be said that this classic and ground-breaking album was as much Martina as Tricky’s. Back then, she was thought to be Tricky’s muse, or the voice of his mother who wrote poetry and committed suicide when he was a child. Tricky and Martina’s daughter Mina committed suicide herself in 2019. The new album was mostly finished before Mina's tragic death, but it’s almost as if Martina were navigating a life haunted by self-destruction and suicidal tendencies born of excessive sensitivity and creative talent – fates shared in an uncanny way within the constellation of her intimate relationships.

The mood is somewhat relentless. There's little variation from a sound born of Bristol in the '90s, including the lilting beat of what was known as trip-hop,  the nervous energy of drum’n’bass and the dreamscapes of dub. This is a mature album though, nourished by darkness and passion. Martina has dared face her demons, and her work has a depth well beyond her earlier solo work. “Sand” finds her with a sharper voice, ringed with the edge of an anger that has never been part of her palette. The closing song on the album, ”Rain”, bewitchingly lyrical with string quartet accompaniment, is a gem, and suggests another way forward into new and exciting territory.

-

More soon. 

Massive Attack cancelled their Liverpool gig, as an arms fair is to take place in the city

 

Such an appalling situation!! 

 

I can't believe a city like Liverpool let this situation evolve this way. When art, culture and progress have to be cancelled over an Arm Fair, in 2021, the year of the failure in Afghanistan and a collective remembrance of 20 years of appalling war-going policies from the UK and their ally, the USA, it is a revolting outcome. Utmost respect to Massive Attack.

 

 

Massive Attack had to cancel their Liverpool gig, in opposition to a coming arms fair in the city

  

The Bristol band just cancelled this Friday their upcoming concert at the ACC Liverpool in opposition to an electronic arms fair being held at the venue.

 

 

Massive Attack performing in Dublin in 2016 (photo: Melissa Chemam)

They were set to play a ‘super-low carbon’ show at the venue, the ACC Exhibition Centre in Liverpool, in late October, to support the development of their Tyndall Centre for Climate Change Research project (link:https://documents.manchester.ac.uk/display.aspx?DocID=56701). But Massive Attack took the decision to cancel the concert, due to the AOC Europe 2021 - previously Electronic Warfare Europe 2021. 

They cancelled in solidarity with the civic protest & unions, after Liverpool’s mayor said she was powerless about canceling the event, a decision that the band and anti-military activists judged “incomprehensible”, especially with the coming COP26, the United Nations Climate Change conference, to take place in the UK, in Glasgow in November. 

 

The venue is to host the arms fair from 11-13 October 2021.

 

The AOC (Association of Old Crows) describes itself as an ‘organisation for individuals who have common interests in Electronic Warfare (EW), Electromagnetic Spectrum Management Operations, Cyber Electromagnetic Activities (CEMA), Information Operations (IO), and other information-related capabilities’, and the two-day event ‘connects organisations and individuals across government, defence, industry, and academia to promote the exchange of ideas and information, and review the latest advances in electromagnetic- and information-related fields’.

 

Massive Attack – Robert ‘3D’ Del Naja and Grant ‘Daddy G’ Marshall – confirmed they were cancelling their gig in solidarity with local campaigners, via Instagram and Twitter this Friday morning: 

 

‘Owing to the @ACCLiverpool decision to not cancel the Electronic Warfare arms fair in Liverpool & in solidarity with campaigners @AgainstArms @RedRosa91940184 @MerseyPensioner @CAATuk our long scheduled show in that venue will now be cancelled.’

 

Their followers and fellow activists showed support to their move, such as Labour MP for Hayes and Harlington John McDonnell, who called the gesture ‘a great act of solidarity’. The movement Occupy London, which Massive Attack supported in 2011, also tweeted: 

 

‘So much respect for integrity of  @MassiveAttackUK who supported us ten years ago and who have never stopped using their platform for justice and never forgot that a better world is possible.’

 

The Liverpool Against The Arms Fair account added: ‘There are clearly big consequences to refusing to cancel this event. The pressure is building.’

 

A coalition of local campaigners are holding a demonstration this weekend against the arms fair, with CAAT (Campaign Against Arms Trade). Liverpool Against the Arms Fair, a local coalition of campaigners opposing the fair, has called a demonstration against the fair on 11 September 2021, the demonstration beginning at Princes Park at 11.30am. A highly symbolic date if any, as the world remember the attack on the World Trade Center in New York City which happened 20 years ago and sparked devastating retaliation war in Afghanistan and later Iraq.

 

The whole journey of the band has been deeply affected by these events, and changed the trajectory of their performances and messages, from their first album, Blue Lines, being released around the beginning of the first Gulf War in 1991, to their deep engagement in protesting against the Second War in Iraq in 2002 and 2003. 

 

In response to the confirmation of the arms fair, Liverpool Against the Arms Fair’s campaigners wrote, also on Twitter: 

 

‘The AOC Europe 2021 arms fair is scheduled to take place at the council-owned ACC Exhibition Centre in Liverpool. At the fair, arms merchants, whose weapons have been used to target civilian populations around the world, are due to use Liverpool to market and sell their arms and military technology. 

 

Massive Attack first announced this special ‘low-carbon’ Liverpool concert back in 2019, without publishing a precise date. The show was intended to be part of their work to dramatically reduce the carbon impact of the band, their crew, transport, catering, merchandise and production, as Robert Del Naja said back then:

 

‘We’re looking forward to exploring the social and scientific solutions to the challenges we face in transitioning to a low-carbon society. This project offers an opportunity to work with new and progressive identities in the planning, energy, technology and transport sectors. This comes after years of participation in large scale music events that have had questionable sponsors on the ticket and, too often, very little enthusiasm for meaningful change.’

 

ACC Liverpool is a multipurpose arena and convention centre on the former Kings Dock, Liverpool, England, opened in May 2008. The Arms Fair will take place in the same city building, which is a public-own space. 

 

Massive Attack’s last concert in Liverpool occurred in 2003. And the latest UK concert took place in Bristol in March 2019, while Robert Del Naja also performed a DJ set that year, at an Extinction Rebellion demonstration in London, in April, to support their fight against the climate crisis. The band are still planning a European ‘Low-Carbon’ tour for 2022. 

 

 

I'm on a break...

 

... away from England:

I'll be back soon!

I hope you're all having a nice summer...

x

'Pure Heart' EP - MTB x RDN

 

Martina Topley Bird and Robert “3D” Del Naja (Massive Attack) have collaborated on a limited run of MTB’s previously digital only ‘Pure Heart' EP release. 

The 4 track EP, including a vinyl exclusive track “Collide”, is now presented with 3D’s artwork, released via his Battle Box imprint. 

Each 12” sleeve will be individually hand silk screen printed using 2 colours on 350gsm reverse board to create a collectable and unique piece of art. Pressed on 180g vinyl. 

Martina Topley-Bird's distinctly creative relationship with Robert Del Naja, the artist also known as 3D, can be documented through a long history with Massive Attack and rooted in those very first visits to Bristol that lead to Topley-Bird appearing on Massive Attack’s 2010 album Heligoland with tracks "Psyche" and "Babel".

 Commenting on the significance of the collaborative project and artwork release, Del Naja said: "We are proud to be releasing this special 12 inch MTB X RDN edition of the Pure Heart EP on the Battle Box label. It's a symbolic way to celebrate our first musical collaboration since Heligoland.” 

Battle Box is Robert Del Naja’s limited edition vinyl imprint which has released collaborations with Guy Garvey, Tunde Adebimpe, Jupiter, James Massiah and Noel Gallagher. 

Released on 12 August 2021

MTB x RDN limited edition vinyl EP: 
https://martinatopleybird.bandcamp.com/album/pure-heart-ep-bb006

Martina commented: 'I am so excited : this is a limited run of the Pure Heart EP with new silk screen printed artwork by 3D. This 12” includes vinyl only track “Collide” Each sleeve will be individually hand silk screen printed' x

https://martinatopleybird.bandcamp.com/album/pure-heart-ep-bb006

New poem: Olive Skin - Published on Thawra

Read on Thawra's website.  

Olive Skin

Read on Thawra's website.

My interview with acclaimed British abstract painter Frank Bowling

 

My new piece for Art UK: read online here. 

Land of Many Waters: an interview with Frank Bowling

Posted 11 Aug 2021, by Melissa Chemam

The 87-year-old pioneering abstract British painter Frank Bowling is celebrated in three art venues during summer 2021, as he joined the Hauser & Wirth gallery.

The largest collection of his recent paintings is on display at Arnolfini, Bristol's main art centre, in a show titled 'Land of Many Waters'. It is the artist's first museum exhibition since his critically acclaimed and long overdue retrospective at Tate Britain in 2019, which cemented his reputation as a 'modern master'.

It results from collaboration with his wife, artist Rachel Scott, his son Ben Bowling, and the Arnolfini's curator Gemma Brace. As writer-in-residence at Arnolfini, I had a chance to discuss his career with him.

Melissa Chemam: In interviews, you said that 'you came to art quite by accident', after you had left Guyana in your late teens and settled in London. What was your relation to art and artists in Guyana?

Frank Bowling: Well, Guyana is where I was born and where I spent my formative years as a human being, but I didn't learn anything about painting, about art, in Guyana. London is where I spent my formative years as an artist. But apart from London, which is more important in my life than any other place I've been in, and perhaps New York, New Amsterdam [in Guyana] is the most important place. It reappears all the time... In my quiet moments, it reappears.

In New York and in London, my studios have been on the river. At one time, I thought my eye was influenced by London light. But when I went home to Guyana in 1989, I was staggered. When I looked at the landscape there, I understood the light in my pictures in a very different way. I saw a crystalline haze, maybe an east wind and water rising up into the sky. It occurred to me for the first time, in my 50s, that the light is about Guyana. It is a constant in my efforts.

I also met my friend Spencer Richards in New York in 1994. He is a Guyanese photographer, artist and music buff who manages my studio in New York. He'd watch me work and we'd talk and reminisce about the country and our different experiences. I was already an artist of the world but he directed my gaze back to Guyana.

Melissa: After a few years in London, you finally got accepted at the Royal College of Art. What did you learn from that experience, and what would you say has helped shape your interests once in England?

Bowling: When I arrived in London in 1953 it felt like coming home. I learned about painting from visiting The National Gallery and the Tate, looking at the Old Masters, like Titian, and the English landscape painters – Turner, Constable, Gainsborough – and of course studying at the Royal College of Art. That all shaped me and meant that coming back to London in the 1970s also brought me back to that, to the English landscape tradition.

Melissa: You soon evolved from portraits to abstract art, and often say that you found subject matters 'hindering', that instead you felt that the subject of the artist was the material that they're using and not some story. How did you form this intuition? Did other artists influence you?

Bowling: I first went to New York in 1961 on a travelling scholarship when I was still at the Royal College, with David Hockney and Billy Apple. New York was the place where it was all happening. It was the frontline of artistic aspiration.

In London I tended to look at the tragic side of human behaviour and try and reflect that in my work, but gradually as I became more involved in making paintings, I realised that the main ingredients are colour and geometry.

And in New York there was a lot of discussion among artists of how to get the materials to deliver all the expectations, all the emotions, truth, clarity. And I realised – boom! This is it. It's about the material, not some sort of story.

Gradually I decided to erase, say, the image of my mother and replace it with shape, colour and structure. I had a huge loft on Broadway that allowed me to experiment and make large-scale works. You know, moving to New York was a blessing, it gave me absolute freedom to work on my art.

Melissa: What sparked your move to New York and America? And how did it change your feelings about your own sense of belonging? Did you ever feel like you were a British painter? Or an American painter/South American painter in any sense?

Bowling: I was born British. When I moved to London it was no more significant than moving from, say, Leeds or Manchester to London. But in London it seemed that everyone was expecting me to paint some kind of protest art out of postcolonial discussion.

For a while I fell for it. But Clement Greenberg told me, 'In America, there is no no-go area for anybody', and I took him at his word. The freedom I found there to make the art that I wanted to make was incredibly liberating. I'll always be British but I also think of myself and my work as international. It's a whole world thing.

Melissa: Art writers usually described your relations with 'Black Art' or Afro-Caribbean Art by underlining that you always rejected the idea that 'artists who happen to be black' had to be making overtly political art or be involved in protest art. What was your relation to identity in art and has it evolved with the recent changes and debates that have emerged on both sides of the Atlantic?

Bowling: I think terminology can be excluding – I don't think there's any such thing as 'black art'; I think black people make good art. I have always been frustrated about being pigeonholed as a black artist, and the expectations people have around what the work should look like and be about. It was only after I tackled the basic concerns of painting – geometry, colour, etc., and once I'd managed to apply myself to study what the business of making paintings was all about – the rules, if you like – that I began to realise that my real concern was more to do with the activity painting itself.

Melissa: You keep painting every day, you say, which is so inspiring and great luck for us, the viewers. How did the most recent painting included in this show at Arnolfini come about? What was your main inspiration and message?

Bowling: I'm happiest when I'm in the studio making paintings. I try to go every day and I have a good time there. I have always felt that the most important thing is to get on with the work. You just get up, get to the studio, work hard to do the best you can to make it new. And that's what I try to do every day and what I have always done.

Pearl Poet (2020) is an ethereal piece and the title was inspired by an essay I happened upon in the London Review of Books that referenced the Pearl Poet alongside Chaucer. I was intrigued by the anonymous authorship of the Pearl Poem. For some time now I have had in my possession a translated copy of Dante's Divine Comedy. I feel a strong affinity with the dream vision of medieval poetry, as I often dream about the next painting that I am going to paint.

-

Melissa Chemam, writer, cultural journalist, reporter

Frank Bowling's exhibition 'Land of Many Waters' is at Arnolfini, Bristol, until 26th September 2021

See more of Frank Bowling's paintings on Art UK's website here. 

August News//Letter

 

August News//Letter: 

Rethinking Art History, Creativity and Colonial History... 

- Book Events and New Writing -

Dear friends, colleagues, culture & art lovers,

I hope this email finds you well!

Please, allow me to share with you my latest newsletter. 

For more on my writing and reflections about art, music, multiculturalism, post-colonial history, activism, here are a few links and events to come.

Firstly:

Welcome Back Bristol! 

Saturday 14th August 2021 18:30 At Waterstones, Bristol - Galleries is very happy to reopen their shop to events! 

Join us "local" authors: Martin Booth, Melissa Chemam, Mike Manson and Colin Moody to discuss works on our great city. 

Martin is the editor of Bristol24/7 and author of 111 Places in Bristol that you Shouldn't Miss. 

Melissa is a journalist, lecturer and author of Massive Attack: Out of the Comfort Zone. 

Mike is a local author who has worked on the Bristol Short Story Prize and published several books on the city, including the Bristol Miscellany. 

Colin is a photographer whose books document the diversity and spirit of Bristol.

This will be your chance to listen to all four speakers, get a copy of their books signed and enjoy an evening celebrating Bristol.

Free event on Saturday 14 August 2021,18:30 at Waterstones, Bristol - Galleries, register here! 

-

For more on the Bristol's street art scene, here is my article for Reader's Digest:

Rediscovering Bristol's 

original graffiti artists

In the 80's, Bristol was one of the pioneering graffiti art hotspots in the world. A new exhibition at the M Shed museum in Bristol pays tribute to its history. 

Read here. 

-

Meanwhile, as some of you may know, I worked for a year on a book with and for the art gallery Arnolfini, here in Bristol, as their writer in residence, I'm so excited to share the result!

Here, There... Evenwhere:

African & Diaspora Artists at Arnolfini 

 

The art book will be released in October, and we are organising events, at the gallery, the university and online, to generate a wider discussion.

Some of the artists mentioned are from the UK, others were born in the USA, Trinidad, Jamaica, Montserrat, but also Morocco, Sudan, Algeria, Ethiopia or Ghana... But most of them had to work in the margins, or to form their own groups and find their personal space to be exhibited and deliver another vision of the arts / the world we live in.

Donald Rodney, 'Double Think', 1992

This alternative part of history of art gave me room to try to weave together different parts of the African continent - that I have visited or lived in. The project also retraces the routes that binded Africa with the Americas and Europe over the centuries.

These are themes that have haunted my work as a journalist, researcher and writer since the mid-2000s at least...

'Still I Rise', Arnolfini, 2019

Since the 2000s, many of these artists have been simultaneously exhibiting in London, Liverpool, Nottingham, New York, Berlin, Venice and further. John Akomfrah, Veronica Ryan, Keith Peiper, Donald Rodney, Sonia Boyce, Frank Bowling, Hassan Hajjaj, etc.

That's why I'd love to create dialogues and generate further encounters with African artists exhibiting in other parts of the world, when this book is out. 

Do get in touch if you're interested in taking part in our wider discussion! 

-

Here are other related articles, recently released:

I AM History

My latest articles for the online magazine on 'Black' art and culture: 

>> ‘Mother Of Mankind’ Exhibition Celebrating Black Women Artists

2021 is a great year of reckoning for many Black women artists in the UK. And an amazing set of exhibitions allows us to enjoy their powerful work this summer. It starts with the exceptional Mother of Mankind exhibition on view at the House Of Fine Arts Mayfair space in London, which is free and open until 31 August. 

>> Lubaina Himid And Sonia Boyce, Pioneers Of Black British Art

The two pioneering artists paved the way for Black women artists in Britain. Both have incredible work on display this year that you absolutely must see.

Frank Bowling, Icon and Inspiration 

This summer, a mesmerising exhibition of the unanimously admired painter Frank Bowling is also on display at Arnolfini, Bristol. 

My interview with Frank Bowling will soon be available to read on Art UK here.

Television Series

on Colonial History 

In the spring, I've been working as a researcher on a historical TV series still in the making... While the documentary series I've worked on for years has been released on HBO in the USA on Sky and NOW TV  in the UK: 'Exterminate All the Brutes'. 

'Exterminate All the Brutes', by acclaimed filmmaker Raoul Peck ('I Am Not Your Negro', HBO’s 'Sometimes in April'), is a four-part hybrid docuseries offering an expansive exploration of the exploitative and genocidal aspects of European colonialism, from America to Africa, and its impact on society today. 

Based on works by three authors and scholars — Sven Lindqvist’s Exterminate All the Brutes, Roxanne Dunbar-Ortiz’s An Indigenous Peoples’ History of the United States, and Michel-Rolph Trouillot’s Silencing the Past— 'Exterminate All the Brutes' revisits and reframes the profound impact of the Native American genocide and American slavery as it fundamentally informs the present.

Review: 'HBO’s Exterminate All the Brutes Is a Radical Masterpiece About White Supremacy, Violence and the History of the West' - Time Magazine 

Bristol - Fall of Colston, 

One Year On

The statue of 17th century merchant and slave trader Edward Colston was pulled down here in Bristol during a Black Lives Matter protest, on 7 June 2020. 125 years later.

One year on, the statue now is part of a new display at M Shed museum, on the docks, in partnership with the We Are Bristol History Commission.

Read about it here on my blog. 

-

On a professional level, in June 2021 I became a Senior Lecturer in Journalism and Media Production, at the University of the West of England (UWE), within the Faculty of Arts, Creative Industries and Education (ACE). 

I really enjoy working with UWE; our campus is one of the greenest in Europe and my team is brilliant and creative. I look forward to new projects next year!

In June, I also interviewed one of our students on how the past year went, you can have a listen on The Quarantini Podcast here. 

I intend to pursue my research on multiculturalism and

 African-American-European exchanges & relations. 

Working-Class 

Writers Festival

Finally, a dynamic new literary festival of national significance will also take place in Bristol in October 2021.

 It aims to enhance, encourage and increase representation from the 'working class' across the country, whilst connecting authors, readers, agents and editors. 

The artistic director is Natasha Carthew, an award-winning working-class writer and poet, a passionate campaigner for working-class representation in the arts.

I've been asked to be part of it! I'll run a workshop on 'Writing in English as a Second Language', the weekend of 21-22 October here in Bristol. 

This event is partnered by Bristol Ideas, Watershed and Knowle West Media Centre. 

-

Do get in touch for more.

You can also follow my work on Twitter, LinkedIn, via my Facebook page Melissa on the Road, or my blog. 

Many thanks for your attention! 

With my very best wishes,

melissa 

-

Melissa Chemam

Writer, Journalist, Researcher

Senior Lecturer @ UWE Bristol

Email: mchemam@gmail.com

https://sites.google.com/view/melissachemam