A person’s culture is something that is often described as fixed or defined and rooted in a particular region, nation, or state. Stuart Hall, one of the most preeminent intellectuals on the Left in Britain, updates this definition as he eloquently theorizes that cultural identity is fluid—always morphing and stretching toward possibility but also constantly experiencing nostalgia for a past that can never be revisited.
Part documentary, part personal essay, this experimental film combines archive imagery with the striking wintry landscapes of Alaska to tell the story of immigrant experience coming into the UK from 1960 onwards.
Listening All Night To The Rain continues John Akomfrah’s abiding interest in post-colonialism, ecology and the politics of aesthetics with a renewed focus on the sonic. Drawing its title from Chinese writer and artist Su Dongpo’s (1037 - 1101) poetry that meditates upon the transitory nature of life during a period of political exile, the exhibition is seen as a manifesto that encourages the act of listening as a form of activism. Conceived as a single landscape or artwork organised into song-like movements or ‘cantos’ that are inspired by American poet Ezra Pound’s (1885 - 1972) journey through history in The Cantos (1925), the exhibition brings together eight multimedia and sound installations.
Drama about a man who lives in an analogue world but seeks to fulfil his desires in a digital world.
John Akomfrah’s seminal Riot traces the riots in Liverpool during July 1981 in a climate of economic recession under Thatcher’s regime. Akomfrah captures this turning point in Britain’s struggle towards multicultural democracy through interviews revealing the ghettoisation and racial abuse in Toxteth that escalated with stop-and-search policing tactics following the “sus” laws.
Tackling the ecological implications of settler colonialism, extractive capitalism and the extinction of microorganisms, this multi-screen installation digs into the oral as well as representational history of various Indigenous cultures.
Commissioned for the inaugural Ghana pavilion at the Venice Biennale, Four Nocturnes (2019) forms the third part of a trilogy of films including the renowned Vertigo Sea (2015) and Purple (2017) that explore the complex intertwined relationship between humanity’s destruction of the natural world and our destruction of ourselves. Using Africa’s declining elephant populations as its narrative spine, Four Nocturnes questions mortality, loss, fragmented identity, mythology and memory through poetic visuals that survey the landscape of African cultural heritage.
