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Jems Koko Bi  

Sculptor and performer

Both a sculptor and a performer, Jems Koko Bi mixes avant-gardist influences to his firmly African history. In his works, he questions the notions of space and  time, within a wider and ongoing reflection on his own existence.

The trees give me instructions and I carry them out in the wood. They advise me and I tell their stories.

His wooden sculptures initiate a conversation with the forces of nature. In his studio at the heart of the forest, immense sculptures see the light of day and  interrogates the identity and the ancestors, the native land and the exile. Through a subtle and confident gesture, the artist reveals the outlines of matter. Following multiple deafening swings, a face comes out of the stump. The mechanized, sympathetic, hand drags it out. It has always existed, but it was  hidden  from the world. The gesture reveals its shape. In rhythm, through gentle touches, the artist seems to caress its surface, which he transforms at each  passage. He aw

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Both a sculptor and a performer, Jems Koko Bi mixes avant-gardist influences to his firmly African history. In his works, he questions the notions of space and  time, within a wider and ongoing reflection on his own existence.

The trees give me instructions and I carry them out in the wood. They advise me and I tell their stories.

His wooden sculptures initiate a conversation with the forces of nature. In his studio at the heart of the forest, immense sculptures see the light of day and  interrogates the identity and the ancestors, the native land and the exile. Through a subtle and confident gesture, the artist reveals the outlines of matter. Following multiple deafening swings, a face comes out of the stump. The mechanized, sympathetic, hand drags it out. It has always existed, but it was  hidden  from the world. The gesture reveals its shape. In rhythm, through gentle touches, the artist seems to caress its surface, which he transforms at each  passage. He awakens the element with a mastered intuitive precision: a dance armed with an iron fist in a breath of tenderness.

 

Dia Papa Demba

President of the regional coordination of Tuscan foreigners' councils

Dia Papa Demba was born in Senegal in 1971 and has lived in Tuscany for 20 years. Since 2010 he is an Italian citizen. He lives in Pontedera where he is a  trade unionist, responsible for the tanning area and basin operator for crafts in the area of Livorno and Pisa. He has always worked in a tannery and was  president of the Council of Foreigners of the Municipality of Pontedera. He is currently president of the regional coordination of Tuscan foreigners’ councils  and councils engaged in associations. For several Italian based Senegalese associations he been involved with international cooperation projects with  Senegal.

Dia Papa Demba was born in Senegal in 1971 and has lived in Tuscany for 20 years. Since 2010 he is an Italian citizen. He lives in Pontedera where he is a  trade unionist, responsible for the tanning area and basin operator for crafts in the area of Livorno and Pisa. He has always worked in a tannery and was  president of the Council of Foreigners of the Municipality of Pontedera. He is currently president of the regional coordination of Tuscan foreigners’ councils  and councils engaged in associations. For several Italian based Senegalese associations he been involved with international cooperation projects with  Senegal.

I've Known Rivers | Black History Month Florence VI ed.

Waiting For Progetto RIVA | Zoom meeting
Speakers: Jems Kokobi with Dia Papa Demba 
Moderator: Justin Randolph Thompson

I’ve Known Rivers draws its title from a line in a 1920 poem by Langston Hughes that speaks of diaspora and lineage through the metaphor of rivers. This project looks to the artist Jems Kokobi reworking traditions and connecting his artistic practice to the sustainability of the natural environment through the material of wood and a response to deforestation’s impact on rivers, natural processes that have since been industrialized and a reflection on the reclaiming of the spiritual dimensions of this work. The artist, engaged in Afrocentric meditations on history and the bridging of the contemporary art world to activist tactics, is placed in dialogue with a local representative of the trade unions around tanneries connected to the Arno river and engaged in sustainability through technological processes and the rights of workers. The conversation is an interdisciplinary one placing practice and poetry side by side.

I’ve Known Rivers draws its title from a line in a 1920 poem by Langston Hughes that speaks of diaspora and lineage through the metaphor of rivers. This project looks to the artist Jems Kokobi reworking traditions and connecting his artistic practice to the sustainability of the natural environment through the material of wood and a response to deforestation’s impact on rivers, natural processes that have since been industrialized and a reflection on the reclaiming of the spiritual dimensions of this work. The artist, engaged in Afrocentric meditations on history and the bridging of the contemporary art world to activist tactics, is placed in dialogue with a local representative of the trade unions around tanneries connected to the Arno river and engaged in sustainability through technological processes and the rights of workers. The conversation is an interdisciplinary one placing practice and poetry side by side.

I've Known Rivers | Black History Month Florence VI ed.

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Bring Me Little Water, Silvy, | Coro CONfusion diretto da Benedetta Manfriani

Bring Me Little Water, Silvy, è un canto di lavoro scritto da Lead Belly, uno dei più importanti esponenti della musica blues, chitarrista dalla vita travagliata, che lavorò nei campi di cotone e finì più volte dietro le sbarre. Il video offre una visione di quello che vorremmo che fosse già possibile: tornare a fare musica dal vivo insieme.
Il coro CONfusion, diretto da Benedetta Manfriani, video di Matteo Marson, con Giovanni Malgaglio, Artetica Toscana, Ministero Del Lavoro E Delle Politiche Sociali, Regione Toscana, Comune di Firenze, Associazione MUSE, MAD Murate Art District, Catalyst, Associazione Progetto Accoglienza

Il coro CONfusion,
diretto da Benedetta Manfriani,
video di Matteo Marson,
con Giovanni Malgaglio, Artetica Toscana, Ministero Del Lavoro E Delle Politiche Sociali, Regione Toscana, Comune di Firenze, Associazione MUSE, MAD Murate Art District, Catalyst, Associazione Progetto Accoglienza
Bring Me Little Water, Silvy, | Coro CONfusion diretto da Benedetta Manfriani

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Maria Rosa Sossai

Curator, founder ALA accademia libera delle arti

Maria Rosa Sossai is a researcher in the field of artistic practices and education policies. She lives in Rome. In 2010 she founded esterno22, an association for contemporary art education, which in 2012 became ALA accademia libera delle arti, an independent platform for education and contemporary art; recent projects include a cycle of workshops and exhibitions of Italian and international artists at FAI – Villa e Collezione Panza in Varese. It currently collaborates with Spazio5 in Trieste. From 2013 to April 2015 she was artistic director of AlbumArte spazio | projects for contemporary art, a non-profit cultural association in Rome. She has curated exhibitions and projects in galleries, foundations and museums in Italy and abroad such as the MAN museum in Nuoro, the Pastificio Cerere Foundation, the Polish Institute in Rome, Nomas Foundation, the American Academy, the Real Academia de España in Rome, the Italian Cultural Institute in Istanbul and Seoul, the Tel Aviv Museum, S

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Maria Rosa Sossai is a researcher in the field of artistic practices and education policies. She lives in Rome. In 2010 she founded esterno22, an association for contemporary art education, which in 2012 became ALA accademia libera delle arti, an independent platform for education and contemporary art; recent projects include a cycle of workshops and exhibitions of Italian and international artists at FAI – Villa e Collezione Panza in Varese. It currently collaborates with Spazio5 in Trieste. From 2013 to April 2015 she was artistic director of AlbumArte spazio | projects for contemporary art, a non-profit cultural association in Rome. She has curated exhibitions and projects in galleries, foundations and museums in Italy and abroad such as the MAN museum in Nuoro, the Pastificio Cerere Foundation, the Polish Institute in Rome, Nomas Foundation, the American Academy, the Real Academia de España in Rome, the Italian Cultural Institute in Istanbul and Seoul, the Tel Aviv Museum, SongEun ArtSpace in Seoul and together with Laura Cherubini, a travelling exhibition by Carla Accardi in Toruń, Budapest, Thessaloniki and Athens.
She writes for contemporary art magazines such as Flash Art, Arte e Critica, Artribune and Shifter; with Silvana Editoriale, Milan, she has published Arte video, storie e culture del video d’artista in Italia, 2002, Film d’artista, percorsi e confronti tra arte e cinema, 2009, Vivere insieme art as a pedagogical action, 2018.

Elisa Bonacini

Archeologa, esperta di comunicazione culturale

Elisa Bonacini è un’archeologa, esperta di comunicazione culturale con le nuove tecnologie e i social media e di processi partecipativi. Ha pubblicato numerosi articoli scientifici e 5 monografie su musei e tecnologie. In particolare, ha pubblicato i volumi: Il museo contemporaneo, fra tradizione, marketing e nuove tecnologie (Aracne, 2011); Nuove tecnologie per la fruizione e valorizzazione del patrimonio culturale (Aracne, 2011); La visibilit@ sul web del patrimonio culturale siciliano (Maimone, 2012); Dal Web alla App (Maimone, 2014); e, da ultimo, I Musei e le forme dello Storytelling digitale (Aracne, 2020). È la coordinatrice regionale per la Sicilia del progetto nazionale Invasioni Digitali e della best practice partecipativa #iziTRAVELSicilia, sulla piattaforma globale izi.TRAVEL, su cui ha finora coordinato la pubblicazione di oltre 300 audioguide multimediali.

Elisa Bonacini è un’archeologa, esperta di comunicazione culturale con le nuove tecnologie e i social media e di processi partecipativi. Ha pubblicato numerosi articoli scientifici e 5 monografie su musei e tecnologie. In particolare, ha pubblicato i volumi: Il museo contemporaneo, fra tradizione, marketing e nuove tecnologie (Aracne, 2011); Nuove tecnologie per la fruizione e valorizzazione del patrimonio culturale (Aracne, 2011); La visibilit@ sul web del patrimonio culturale siciliano (Maimone, 2012); Dal Web alla App (Maimone, 2014); e, da ultimo, I Musei e le forme dello Storytelling digitale (Aracne, 2020). È la coordinatrice regionale per la Sicilia del progetto nazionale Invasioni Digitali e della best practice partecipativa #iziTRAVELSicilia, sulla piattaforma globale izi.TRAVEL, su cui ha finora coordinato la pubblicazione di oltre 300 audioguide multimediali.

Valentina Gensini

Direttore Artistico MAD Murate Art District

Valentina Gensini è storica dell’arte e curatrice. Dopo un incarico per la Galleria d’Arte Moderna di Palazzo Pitti, e il Diploma di Specializzazione in Storia dell’Arte dell’Università di Siena, ha lavorato per la Fondazione Palazzo Strozzi, dove ha co-curato Green Platform. Arte Ecologia Sostenibilità (CCCS, 2009). Ha co-curato il progetto espositivo Novecento Sedotto (Villa Bardini 2010). Ha diretto la sezione Arti Visive del Festival Fabbrica Europa (2012). Insegna storia dell’arte contemporanea e coordina un master presso l’Istituto Europeo di Design. Per Mus.e ha fondato e diretto il Museo Novecento (2014-2017) e dirige il centro Murate Art District. È fondatrice e direttrice artistica del Progetto Riva. E’ membro del CdA della Fondazione Primo Conti e della Galleria dell’Accademia di Firenze. E’ autrice di saggi, cataloghi e volumi tra cui Video d’artista. La video-arte dalle origini a oggi (Polistampa, 2011); Arte, Ecologia, Sensibilità (Silvana, 20

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Valentina Gensini è storica dell’arte e curatrice. Dopo un incarico per la Galleria d’Arte Moderna di Palazzo Pitti, e il Diploma di Specializzazione in Storia dell’Arte dell’Università di Siena, ha lavorato per la Fondazione Palazzo Strozzi, dove ha co-curato Green Platform. Arte Ecologia Sostenibilità (CCCS, 2009). Ha co-curato il progetto espositivo Novecento Sedotto (Villa Bardini 2010). Ha diretto la sezione Arti Visive del Festival Fabbrica Europa (2012). Insegna storia dell’arte contemporanea e coordina un master presso l’Istituto Europeo di Design. Per Mus.e ha fondato e diretto il Museo Novecento (2014-2017) e dirige il centro Murate Art District. È fondatrice e direttrice artistica del Progetto Riva. E’ membro del CdA della Fondazione Primo Conti e della Galleria dell’Accademia di Firenze. E’ autrice di saggi, cataloghi e volumi tra cui Video d’artista. La video-arte dalle origini a oggi (Polistampa, 2011); Arte, Ecologia, Sensibilità (Silvana, 2009), Global identities. Postcolonial and cross-cultural narratives (Mousse, 2019), Residenze d’artista: contro-tendenze (Boite Editore, 2020), Musei, Pubblici, Tecnologie (Pisa University Press, 2020). 

La sfida del digitale per i musei: storytelling, pubblici e accessibilità | incontro online

Conferenza in diretta sulla pagina facebook del Museo Civico e del MAD Murate Art District, 17 febbraio 2021 ore 17.00

Il Museo Civico di Castelbuono in collaborazione con MAD Murate Art District presenta l’incontro “La sfida del digitale per i musei: storytelling, pubblici e accessibilità”, trasmesso in diretta sulla pagina facebook delle due istituzioni culturali, mercoledi 17 febbraio 2021 ore 17.00.

Un incontro con la partecipazione di:
Elisa Bonacini, esperta di comunicazione culturale con le nuove tecnologie,
Valentina Gensini
, direttore artistico MAD Murate Art District,
Maria Rosa Sossai, ricercatrice nel campo delle pratiche artistiche partecipative e delle politiche dell’educazione,
Laura Barreca, Direttrice del Museo Civico di Castelbuono.

La conversazione affronta da diverse prospettive scientifiche un tema con il quale i musei sono chiamati a confrontarsi in un momento storico come quello attuale. Appare ormai condivisa l’idea di un generale ripensamento della funzione dei musei e degli strumenti di divulgazione e promozione culturale, sia in rapporto alle diverse tipologie





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Il Museo Civico di Castelbuono in collaborazione con MAD Murate Art District presenta l’incontro “La sfida del digitale per i musei: storytelling, pubblici e accessibilità”, trasmesso in diretta sulla pagina facebook delle due istituzioni culturali, mercoledi 17 febbraio 2021 ore 17.00.

Un incontro con la partecipazione di:
Elisa Bonacini, esperta di comunicazione culturale con le nuove tecnologie,
Valentina Gensini
, direttore artistico MAD Murate Art District,
Maria Rosa Sossai, ricercatrice nel campo delle pratiche artistiche partecipative e delle politiche dell’educazione,
Laura Barreca, Direttrice del Museo Civico di Castelbuono.

La conversazione affronta da diverse prospettive scientifiche un tema con il quale i musei sono chiamati a confrontarsi in un momento storico come quello attuale. Appare ormai condivisa l’idea di un generale ripensamento della funzione dei musei e degli strumenti di divulgazione e promozione culturale, sia in rapporto alle diverse tipologie di pubblico, sia in relazione alla valorizzazione del patrimonio culturale. I Musei possono quindi farsi promotori di un nuovo formato di fruizione che permetta una maggiore inclusione e una migliore accessibilità al patrimonio culturale, anche in relazione all’orientamento fornito dalla Convenzione di Faro (2005).

Le istituzioni culturali, a cui è affidata per statuto la tutela, la valorizzazione, la produzione, la musealizzazione, e la divulgazione di beni materiali e immateriali, oggi affrontano la sfida della trasmissione del patrimonio culturale attraverso l’invenzione di nuovi linguaggi di comunicazione. Una riflessione che si estende anche al tema delle professionalità museali, e dei nuovi ambiti di sperimentazione come lo storytelling, i virtual tour, la partecipazione di più categorie sociali di pubblico, con l’adozione di un linguaggio meno tecnico e più comprensibile. Per determinare un impatto concreto sui visitatori il settore dell’innovazione tecnologica ha offerto negli ultimi decenni strumenti e possibilità di valorizzazione delle opere e del concetto di esperienza al museo.

Durante la conversazione saranno discussi e presentati con le autrici le recenti pubblicazioni di Elisa Bonacini I Musei e le forme dello Storytelling digitale, Aracne, 2020, e Valentina Gensini, Musei, Pubblici, Tecnologie, Pisa University Press, 2020.

La sfida del digitale per i musei: storytelling, pubblici e accessibilità | incontro online

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Black History Month Florence

Curatorial team

Black History Month Florence was founded in 2016 is a cross institutional network for Black cultural production that celebrates Afro-descendent Cultures in the context of Italy. The initiative is engaged in programming, advising and co-promoting over 50 events annually within the month of February, through a network formed and supported by the Comune, foundations, institutions, cultural associations, museums, schools and venues dedicated to art and to music. BHMF as a curatorial team is headed by Justin Randolph Thompson and Janine Gaelle Dieudji.

Black History Month Florence was founded in 2016 is a cross institutional network for Black cultural production that celebrates Afro-descendent Cultures in the context of Italy. The initiative is engaged in programming, advising and co-promoting over 50 events annually within the month of February, through a network formed and supported by the Comune, foundations, institutions, cultural associations, museums, schools and venues dedicated to art and to music. BHMF as a curatorial team is headed by Justin Randolph Thompson and Janine Gaelle Dieudji.

Janine Gaëlle Dieudji

co-founder and director Black History Month Florence

Janine Gaëlle Dieudji is a bi-national French and Cameroonian graduate of Culture and International Relations from Lyon 3 University in France. She also holds a Master Degree in Political Science from Paris 2 Panthéon Assas University.

She’s been living in Florence, Italy, for the past six years, a city she has since fallen in love with. This is how Florence became home to her and the place where she started to build her career as an art professional. She considers herself as a ‘multi­local’ by believing that we belong to all the places we have lived in. Home is where the mind can create and feel rested at the same time. This is what the life journey is made for, exploring to become the person we decide to be.

Janine Gaëlle Dieudji is a bi-national French and Cameroonian graduate of Culture and International Relations from Lyon 3 University in France. She also holds a Master Degree in Political Science from Paris 2 Panthéon Assas University.

She’s been living in Florence, Italy, for the past six years, a city she has since fallen in love with. This is how Florence became home to her and the place where she started to build her career as an art professional. She considers herself as a ‘multi­local’ by believing that we belong to all the places we have lived in. Home is where the mind can create and feel rested at the same time. This is what the life journey is made for, exploring to become the person we decide to be.

Justin Randolph Thompson

co-founder and director Black History Month Florence

Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

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Justin Randolph Thompson is a new media artist, cultural facilitator and educator born in Peekskill, NY in ’79. Living between Italy and the US since 1999, Thompson is Co-Founder and Director of Black History Month Florence, a multi-faceted exploration of African and African Diasporic cultures in the context of Italy founded in 2016.
Thompson is a recipient of a Louise Comfort Tiffany Award, a Franklin Furnace Fund Award, a Visual Artist Grant from the Fundacion Marcelino Botin, two Foundation for Contemporary Arts Emergency Grants, A Jerome Fellowship from Franconia Sculpture Park and an Emerging Artist Fellowship from Socrates Sculpture Park. His life and work seek to deepen the discussions around socio-cultural stratification and hierarchical organization by employing fleeting temporary communities as monuments and fostering projects that connect academic discourse social activism and DIY networking strategies in annual and biennial gathering, sharing and gestures of collectivity.

 

 

Kiluanji Kia Henda

Luanda-Angola, 1979, Kiluanji Kia Henda is an autodidact which a profound springboard into this realm comes from growing up in a household of photography enthusiasts. His conceptual edge was sharpened by immersing himself into music, avant-garde theater and collaborating with a collective of emerging artists in Luanda ́s art scene. Kia Henda participated in several residency programs in cities such as Venice, Cape Town, Paris, Amman and Sharjah, New York and Arles.

Kia Henda´s selected solo exhibitions includes Something Happen on the Way to Heaven, at Museo di Arte di Nuoro (2020), The Isle of Venus at Museum of Leuven in Leuven (2020),  A City Called Mirage at the International Studio and Curatorial Program (ISCP) in New York (2017), In the Days of a Dark Safari at Galeria Filomena Soares in Lisbon and Goodman Gallery in Cape Town (2017) and Self-Portrait As A White Man at Galleria Fonti in Naples (2010).

Kia Henda has participated in group exhibitions at numerous institutions,

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Luanda-Angola, 1979, Kiluanji Kia Henda is an autodidact which a profound springboard into this realm comes from growing up in a household of photography enthusiasts. His conceptual edge was sharpened by immersing himself into music, avant-garde theater and collaborating with a collective of emerging artists in Luanda ́s art scene. Kia Henda participated in several residency programs in cities such as Venice, Cape Town, Paris, Amman and Sharjah, New York and Arles.

Kia Henda´s selected solo exhibitions includes Something Happen on the Way to Heaven, at Museo di Arte di Nuoro (2020), The Isle of Venus at Museum of Leuven in Leuven (2020),  A City Called Mirage at the International Studio and Curatorial Program (ISCP) in New York (2017), In the Days of a Dark Safari at Galeria Filomena Soares in Lisbon and Goodman Gallery in Cape Town (2017) and Self-Portrait As A White Man at Galleria Fonti in Naples (2010).

Kia Henda has participated in group exhibitions at numerous institutions, amongst which Barbican Art Center in Lonodon (2020), Migros Museum in Zurich (2020), Centre Georges Pompidou in Paris (2020), Zeitz MOCAA in Cape Town (2019), Tate Modern in London (2019), MAAT in Lisbon (2018), the National Museum of African Art – Smithsonian Institution in Washington D.C. (2015) and the Guggenheim Museum in Bilbao (2015).

His work was shown at the Gwangju Biennale (2018), Bergen Assembly (2013), São Paulo Biennale (2010), Venice Biennale (2007) and the Luanda Triennale (2007). In 2017, Kia Henda received the Frieze Artist Award. He presented his work The Fortress in the Somerset House courtyard (London) in 2019. The artist won Angola’s National Culture and Arts Award in 2012. His work can be found in public collections, including Tate Modern (London), the Museum of Modern Art (Warsaw), Centre George Pompidou (Paris), Pérez Art Museum (Miami) and Coleção de Arte Moderna Calouste Gulbenkian (Lisbon).

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The isle of Venus | Kiluanji Kia Henda A cura di BHMF 2021

Isle of Venus is a meditation on the socio-psycho and self imposed short sightedness produced by the transformation of cities into theme based museum sites, whether anchored in the romanticism of the Renaissance or in the gritty appeal of the medieval.

Isle of Venus is a site specific installation by Kiluanji Kia Henda conceptualized during the artists sojourn in Florence as a reflection on the city, its history and its relationship to transitory people whether tourists or other seemingly impermanent residents.

Island mentality refers to the notion that isolation and lack of consideration for all beyond one’s borders produces a sense of superiority that is insular in its desensitization. This notion is not reserved for those geographically cut off from others but spills over onto those societies so habitually engaged in establishing the terms, norms, canons, borders and values that they thrive on, that they rarely take notice of the labor intensively constructed fiction or the painstakingly preserved facade.

Isle of Venus is a meditation on the socio-psycho and self imposed short sightedness produced by the transformation of cities into theme based museum sites, whether anchored in the romanticism of the Renaissance or in the gr

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Isle of Venus is a site specific installation by Kiluanji Kia Henda conceptualized during the artists sojourn in Florence as a reflection on the city, its history and its relationship to transitory people whether tourists or other seemingly impermanent residents.

Island mentality refers to the notion that isolation and lack of consideration for all beyond one’s borders produces a sense of superiority that is insular in its desensitization. This notion is not reserved for those geographically cut off from others but spills over onto those societies so habitually engaged in establishing the terms, norms, canons, borders and values that they thrive on, that they rarely take notice of the labor intensively constructed fiction or the painstakingly preserved facade.

Isle of Venus is a meditation on the socio-psycho and self imposed short sightedness produced by the transformation of cities into theme based museum sites, whether anchored in the romanticism of the Renaissance or in the gritty appeal of the medieval. Part and parcel of this veneer is the distancing of all things unaligned with, or that effectively, evoke the social underpinnings of this consistent barrage.

Curated by BHMF in collaboration with MAD Murate Art District;
MAD Murate Art District, Sala Anna Banti 03/02-28/02/2021
Black History Month Florence.VI Edizione. OSTINATO

The isle of Venus | Kiluanji Kia Henda A cura di BHMF 2021

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Victor Fotso Nyie

Artist

Victor Fotso Nyie was born in 1990 in Douala, Cameroon and lives and works in Faenza. In 2018 he attended the Biennium of Sculpture at the Academy of Fine Arts in Bologna. He attended the Istituito Tecnico Superiore Tonito Emiliani / Diploma of Superior Technician for the design and prototyping of ceramic products, Faenza, IT in 2015. His artistic research leads him to explore human variety and beauty, without forgetting a spiritual dimension. He creates works that recall his homeland, Africa, which merge with others that metaphorically describe the globalized world in which we live. He has participated in numerous group and solo exhibitions including The Armory show, New York city 2020, Stand P420 gallery,(2020), III Biennale d’Arte don Franco Patruno, curated by Gianni Ceroli, Museo MAGI ‘900, Pieve di Cento (BO) (2020).To be going to, curated by Francesca Bertazzoni & Davide Ferri, P420, (2019) In 2020 he participated in the project Research Residency for BHMF, OCAD

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Victor Fotso Nyie was born in 1990 in Douala, Cameroon and lives and works in Faenza. In 2018 he attended the Biennium of Sculpture at the Academy of Fine Arts in Bologna. He attended the Istituito Tecnico Superiore Tonito Emiliani / Diploma of Superior Technician for the design and prototyping of ceramic products, Faenza, IT in 2015. His artistic research leads him to explore human variety and beauty, without forgetting a spiritual dimension. He creates works that recall his homeland, Africa, which merge with others that metaphorically describe the globalized world in which we live. He has participated in numerous group and solo exhibitions including The Armory show, New York city 2020, Stand P420 gallery,(2020), III Biennale d’Arte don Franco Patruno, curated by Gianni Ceroli, Museo MAGI ‘900, Pieve di Cento (BO) (2020).To be going to, curated by Francesca Bertazzoni & Davide Ferri, P420, (2019) In 2020 he participated in the project Research Residency for BHMF, OCAD University, (Florence). Winner of various awards including the Roberto Daolio Prize, 2018 the III Art Biennale Don Franco Patruno, Museo MAGI ‘900, Pieve di Cento (BO), (2019). His next exhibitions include Museo MAGI ‘900, Pieve di Cento (BO), IT (only) (2020) and the Biennale del Mediterraneo, Republic of San Marino (2020).

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Francis Offman

Artist

Francis Offmanwas born in Butare, Rwanda in 1987. He moved in Italy in 1999. He lives and works in Bologna. After studying Administration Sciences at the Università degli Studi in Milan he attended the Academy of Fine Arts in Bologna where he studied Painting with Luca Bertolo. In 2018-2019 Offman partecipated at several group exhibitions among Tragitti divaganti, distrazioni da una meta during Open Tour 2018. In the same year he took part in the Q-Rated workshop in Nuoro promoted by the Quadriennale of Rome. In 2020 he participated in the YGBI Research Residency organized by the Black History Month Florence n collaboration with Ontario College of Art and Design in Florence. He is one of the selected artist of Mediterranea 19 – Young Artists Biennale (San Marino, 2021).

Francis Offmanwas born in Butare, Rwanda in 1987. He moved in Italy in 1999. He lives and works in Bologna. After studying Administration Sciences at the Università degli Studi in Milan he attended the Academy of Fine Arts in Bologna where he studied Painting with Luca Bertolo. In 2018-2019 Offman partecipated at several group exhibitions among Tragitti divaganti, distrazioni da una meta during Open Tour 2018. In the same year he took part in the Q-Rated workshop in Nuoro promoted by the Quadriennale of Rome. In 2020 he participated in the YGBI Research Residency organized by the Black History Month Florence n collaboration with Ontario College of Art and Design in Florence. He is one of the selected artist of Mediterranea 19 – Young Artists Biennale (San Marino, 2021).

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Emmanuel Yoro

Visual artist

Emmanuel Yoro is an Italian visual artist of Ivorian origin working between Vicenza and Milan. Adopting an artistic practice that embraces collage, design, fashion, graphics and photography, he breaks down into images the questions of the multiple facets of his cultural identity and different nuances of queerness.

An Afro-diasporic sensibility and a raw and monochromatic aesthetic characterize his research and recent artistic production, always in the attempt of a wider redefinition of the self that dwells in the symposium between past and present, between memory and imagination.

Emmanuel Yoro is an Italian visual artist of Ivorian origin working between Vicenza and Milan. Adopting an artistic practice that embraces collage, design, fashion, graphics and photography, he breaks down into images the questions of the multiple facets of his cultural identity and different nuances of queerness.

An Afro-diasporic sensibility and a raw and monochromatic aesthetic characterize his research and recent artistic production, always in the attempt of a wider redefinition of the self that dwells in the symposium between past and present, between memory and imagination.

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Raziel Perin

Artist

Raziel Perin was born in 1992 in the Dominican Republic. He received a BFA in Visual Arts at Naba Milano. Drawing upon his personal experience, mental associations and cultural references, Raziel Perin creates mysterious, unexpected and direct works of art that recall precise moments of clarity and dense memories that evoke the complexity of the process of reconciliation of the diasporic identity freed from Western stereotypes. Perin was born in the hinterland of the Dominican Republic, where he lived until the age of four. In 1996 he moved to Northern Italy with his mother. His artistic production takes shape between two very distant realities, rooted in the need to be accepted as “the Other” and at the same time feeling the duty to suppress the sensitive part of his personal history, which constantly re-emerges. The introspection and reconnection with the echoes of those ancestral bonds that seemed to have been severed in this process of ‘whitening’ are the re

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Raziel Perin was born in 1992 in the Dominican Republic. He received a BFA in Visual Arts at Naba Milano. Drawing upon his personal experience, mental associations and cultural references, Raziel Perin creates mysterious, unexpected and direct works of art that recall precise moments of clarity and dense memories that evoke the complexity of the process of reconciliation of the diasporic identity freed from Western stereotypes. Perin was born in the hinterland of the Dominican Republic, where he lived until the age of four. In 1996 he moved to Northern Italy with his mother. His artistic production takes shape between two very distant realities, rooted in the need to be accepted as “the Other” and at the same time feeling the duty to suppress the sensitive part of his personal history, which constantly re-emerges. The introspection and reconnection with the echoes of those ancestral bonds that seemed to have been severed in this process of ‘whitening’ are the result and are channeled into drawings, paintings, sculptures and installations that unite and synthesize a series of recurring elements. His body of work conveys a compelling visual metaphor of the layers of personal memory and cultural history that inform and intensify his experience of the present.

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Binta Diaw

Visual artist

Binta Diaw born in1995 is a Senegalese-Italian visual artist based in Milan, Italy. 

Her research is aimed at the creation of installations of various dimensions and works commenting social phenomena like migration and immigration, anthropology as well as her body in relationship with nature and notions of identity. Defying the Western gaze through a subverted reality, her practice questions perceptions of Italianness and Africanness in relation to her own cultural heritage and upbringing.

Embracing visual art with a strongly intersectional, afro-diasporic and feminist methodology based on a physical, personal experience, she is ultimately able to explore the multiple layers of her blackness, her self as a social body and her position as a black woman in a Western context. She studied Fine Arts at the Academy of fine arts of Brera in Milan and obtained a MA at ESAD Grenoble-Valence, in France. In 2018 she moved to Germany for an internship at SAVVY Contemporary, Berlin. In 2020 she de

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Binta Diaw born in1995 is a Senegalese-Italian visual artist based in Milan, Italy. 

Her research is aimed at the creation of installations of various dimensions and works commenting social phenomena like migration and immigration, anthropology as well as her body in relationship with nature and notions of identity. Defying the Western gaze through a subverted reality, her practice questions perceptions of Italianness and Africanness in relation to her own cultural heritage and upbringing.

Embracing visual art with a strongly intersectional, afro-diasporic and feminist methodology based on a physical, personal experience, she is ultimately able to explore the multiple layers of her blackness, her self as a social body and her position as a black woman in a Western context. She studied Fine Arts at the Academy of fine arts of Brera in Milan and obtained a MA at ESAD Grenoble-Valence, in France. In 2018 she moved to Germany for an internship at SAVVY Contemporary, Berlin. In 2020 she debuted with her first solo show at Galleria Giampaolo Abbondio in Milan.

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Gettare il Sasso e nascondere la mano | BHMF 2021

The works form an invitation towards a collective capacity for developing strategies of resistance but also a critique in relation to the shortsightedness of self-aggrandizing individualism.

Gettare il sasso e nascondere la mano is a collective exhibition dedicated to the artists of the first edition of the YGBI Research Residency developed in collaboration with OCAD and The Student Hotel in February 2020 under the mentorship of Andrea Fatona and Leaf Jerlefia.  The residence reflected on spaces of non-performativity, collectivity and the notion of diaspora. Bringing together five Afro-descendant artists under 35 and residing in Italy, the resulting exhibition designed for the cells of Murate Art District embraces a series of narratives that link spirituality to education and colonial history and its materiality to historical activism.

The exhibition is rooted in an experimental approach to the collective sharing of space.

The phrase Gettare il sasso e nascondere la mano (throwing a stone and hiding the hand) was voiced by Cécile Kyenge as a description of a futile attempt at not being held accountable for the enactment of blatant and intentional violence. Her

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Gettare il sasso e nascondere la mano is a collective exhibition dedicated to the artists of the first edition of the YGBI Research Residency developed in collaboration with OCAD and The Student Hotel in February 2020 under the mentorship of Andrea Fatona and Leaf Jerlefia.  The residence reflected on spaces of non-performativity, collectivity and the notion of diaspora. Bringing together five Afro-descendant artists under 35 and residing in Italy, the resulting exhibition designed for the cells of Murate Art District embraces a series of narratives that link spirituality to education and colonial history and its materiality to historical activism.

The exhibition is rooted in an experimental approach to the collective sharing of space.

The phrase Gettare il sasso e nascondere la mano (throwing a stone and hiding the hand) was voiced by Cécile Kyenge as a description of a futile attempt at not being held accountable for the enactment of blatant and intentional violence. Her’s was a response to the hands hidden in plain sight responsible for social damage and the sustenance of fractured values. This exhibition engages the socio-spiritual obstinacy that recognizes the obvious yet is cognizant of each of us as keepers of under-acknowledged agency.

The works form an invitation towards a collective capacity for developing strategies of resistance but also a critique in relation to the shortsightedness of self-aggrandizing individualism. The project comes in the wake of a series of solo exhibitions that were held at the MAGA Museum within the research project The Recovery Plan that was put on pause by the second phase of lockdowns in Fall of 2020 which is accompanied by five monographic online volumes each on dedicated to one of the artists involved.

 

Curated by Black History Month Florence
In collaboration with Murate Art District
MAD Murate Art District, celle, piano 1

Gettare il Sasso e nascondere la mano | BHMF 2021

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Teatro dell'Elce

Theatre company

Teatro dell’elce is a theatre company founded in 2016 from Marco Di Costanzo (director), Stefano Parigi (actor) and Andrea Pistolesi (sound designer). Teatro dell’Elce activity is focalised on a continuos study about acting as well as on production of performances and other education and research projects, in order to achieve a high quality popular theatre. Teatro dell’Elce performances have been staged throughout Italy and the company was Italy representative within the International Algiers Theatre Festival 2010 and the International Theatre Festival for Peace 2011 and 2012 in Barrancabermeja (Colombia).

Teatro dell’elce is a theatre company founded in 2016 from Marco Di Costanzo (director), Stefano Parigi (actor) and Andrea Pistolesi (sound designer). Teatro dell’Elce activity is focalised on a continuos study about acting as well as on production of performances and other education and research projects, in order to achieve a high quality popular theatre. Teatro dell’Elce performances have been staged throughout Italy and the company was Italy representative within the International Algiers Theatre Festival 2010 and the International Theatre Festival for Peace 2011 and 2012 in Barrancabermeja (Colombia).

Un training per l’attore “neo-drammatico”

Residenza d'artista del Teatro dell'Elce

During the last years, we encountered the need of a precise definition of our theatric style. We don’t want a conceptual definition, nor we need a definition to describe the past: on the contrary, we look for a praxis to characterise in a specific way our working activity in the future.

First, we decided to develop a new “training”, through an activity of synthesis of all sources and experiences which contributed to draw our path until today. A “training” is a set of exercises, games, provocations for the actor to enter a specific working atmosphere to rehearse or to perform.

The target we are following is what we called “neo-dramatic theatre” (another ongoing definition): it concerns the desire to explore the performative branch of acting as well as saving a “dramatic” basis, for whom the “present” act of the performer is not unlinked to an “a-priori” organization of the performance meaning. In other words, if dramatic theatre was a road and performative thea

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During the last years, we encountered the need of a precise definition of our theatric style. We don’t want a conceptual definition, nor we need a definition to describe the past: on the contrary, we look for a praxis to characterise in a specific way our working activity in the future.

First, we decided to develop a new “training”, through an activity of synthesis of all sources and experiences which contributed to draw our path until today. A “training” is a set of exercises, games, provocations for the actor to enter a specific working atmosphere to rehearse or to perform.

The target we are following is what we called “neo-dramatic theatre” (another ongoing definition): it concerns the desire to explore the performative branch of acting as well as saving a “dramatic” basis, for whom the “present” act of the performer is not unlinked to an “a-priori” organization of the performance meaning. In other words, if dramatic theatre was a road and performative theatre was water, “neo-dramatic theatre” would be a river.

Un training per l’attore “neo-drammatico”

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Simao Amista

Anthropologist and doctor

Simao Amista is an anthropologist and doctor of Italian-Afro-Brazilian descent. A scholar of African and Afro-descendent religions and spiritual philosophies, he has been working for years in the field of hospitality and education.

Simao Amista is an anthropologist and doctor of Italian-Afro-Brazilian descent. A scholar of African and Afro-descendent religions and spiritual philosophies, he has been working for years in the field of hospitality and education.

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Patrick Joël Tatcheda Yonkeu

Giornalista di moda e cultura e direttore creativo

Patrick Joël Tatcheda Yonkeu was born in Cameroon in 1985, lives and works in Bologna. He moved to Italy in 2009 where he obtained a scholarship for the Academy of Fine Arts in Bologna and obtained a Master’s degree in Visual Arts in 2016 with a research project on the theme of Zen in the arts. His interest in metaphysics remains the basis of his practice, which concerns the relationship between human beings and nature and our place in the universe, and he searches for forms of spirituality more suitable for our times. His research is based on the idea of existence as a harmonious flow whose balance must be preserved and often refers to themes of life and death, the visible and the invisible and energy in its infinite forms. He deepens this research through numerous collaborations between Africa and Italy and by creating seminars on intercultural painting with schools and associations in Emilia-Romagna.

Born and raised in Kingston Jamaica, Jordan Anderson is a fashion and cultur

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Patrick Joël Tatcheda Yonkeu was born in Cameroon in 1985, lives and works in Bologna. He moved to Italy in 2009 where he obtained a scholarship for the Academy of Fine Arts in Bologna and obtained a Master’s degree in Visual Arts in 2016 with a research project on the theme of Zen in the arts. His interest in metaphysics remains the basis of his practice, which concerns the relationship between human beings and nature and our place in the universe, and he searches for forms of spirituality more suitable for our times. His research is based on the idea of existence as a harmonious flow whose balance must be preserved and often refers to themes of life and death, the visible and the invisible and energy in its infinite forms. He deepens this research through numerous collaborations between Africa and Italy and by creating seminars on intercultural painting with schools and associations in Emilia-Romagna.

Born and raised in Kingston Jamaica, Jordan Anderson is a fashion and culture journalist & creative director who is currently based in Milan. His work often magnifies & explores political themes in and outside the fashion industry including race, gender, sexuality, identity & cultural ethics. He contributes to a variety of publications including Document Journal, Teen Vogue, Vogue Italia, The Face and is currently online editor & editor-at-large for Twin Magazine and nss magazine respectively.

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Angelica Pesarini

Professor of Sociology at New York University in Florence

Angelica Pesarini is Professor of Sociology at New York University in Florence where she teaches “Black Italia”, a course dedicated to the analysis of the intersections of race, gender and citizenship in Italy. She holds a Ph.d. in Sociology and Gender Studies in England and worked as a professor of Gender, Race and Sexuality at Lancaster University before returning to Italy in 2017. Pesarini’s research focuses on the performativity of race in colonial and post-colonial Italy and the racialisation of contemporary Italian political discourse. Pesarini has previously investigated the relationships between gender identity and economic activities in some Roma communities living in Rome, analyzing risk strategies, survival and opportunity in the context of male child prostitution in Rome. She has published several academic essays and participated in various collective publications.

Angelica Pesarini is Professor of Sociology at New York University in Florence where she teaches “Black Italia”, a course dedicated to the analysis of the intersections of race, gender and citizenship in Italy. She holds a Ph.d. in Sociology and Gender Studies in England and worked as a professor of Gender, Race and Sexuality at Lancaster University before returning to Italy in 2017. Pesarini’s research focuses on the performativity of race in colonial and post-colonial Italy and the racialisation of contemporary Italian political discourse. Pesarini has previously investigated the relationships between gender identity and economic activities in some Roma communities living in Rome, analyzing risk strategies, survival and opportunity in the context of male child prostitution in Rome. She has published several academic essays and participated in various collective publications.

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Jessica Sartiani

Coffee trainer and coffee expert

Jessica Sartiani is a Florentine coffee trainer and coffee expert. With an Italian father and a mother who is half Filipino and half African-American, it is from her origins that her journey as a woman of coffee starts. As someone trained, operative and attentive to the recent sub-cultures of coffee, she started her work in one of the pioneer coffee shops of this selected product, Ditta Artigianale, ten years ago, studying and discovering all the work that precedes the service in the coffee shop, giving importance to the producing countries. Her experience evolved with the opening of the first Speciality coffee in Italy, dealing with the training of baristas and customers. She has participated in various competitions such as the Brewers cup, to improve her contact with the public and enrich her background, and has been part of training projects in Honduras, Lithuania and several local coffee start-ups.

Jessica Sartiani is a Florentine coffee trainer and coffee expert. With an Italian father and a mother who is half Filipino and half African-American, it is from her origins that her journey as a woman of coffee starts. As someone trained, operative and attentive to the recent sub-cultures of coffee, she started her work in one of the pioneer coffee shops of this selected product, Ditta Artigianale, ten years ago, studying and discovering all the work that precedes the service in the coffee shop, giving importance to the producing countries. Her experience evolved with the opening of the first Speciality coffee in Italy, dealing with the training of baristas and customers. She has participated in various competitions such as the Brewers cup, to improve her contact with the public and enrich her background, and has been part of training projects in Honduras, Lithuania and several local coffee start-ups.

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