Knights in Shining Armour (reappropriating the appropriated)
Joblek, Kenneth Aidoo, Amos Black, Ade Dare, Giovanni Jona, Madison Lewis, Zella Vanié
Is there room in art for a sense of humour, satire or comedy when it comes to (institutional) racism and oppression? The group exhibition Knights in Shining Armour (reappropriating the appropiated) examines this question through the work of seven (inter)national artists, in a setting that gives new meaning to historical objects from our colonial past.
The exhibition is part one of the eponymous artistic and social research project by curator Claudio Ritfeld. For the exhibition the Cultural Heritage Agency of the Netherlands kindly loaned objects, in the commemorative year 2023, which celebrates 150 years of the abolition of slavery in Suriname and the Caribbean parts of the Dutch Kingdom.
The artists participating in this exhibition come from different countries, some created by the transatlantic slave trade, others come from West Africa, Europe and the United States of America. The source of inspiration for this project came from the historical journey and linguistic transformation of the word “nigger”. The curator tries to draw a parallel between this phenomenon and the current act of contemporary painters re-appropriating black stereotypes in figurative painting. The curator is interested in how humor can be used as the ultimate “armour” to ward off or even neutralise some weapons of racism and oppression.
Curator’s statement:
The year 2023 is a commemorative year in the Netherlands because 150 years ago Slavery was abolished in Suriname and the Caribbean parts of the Dutch Kingdom. In this context CBK Zuidoost initiated a collaboration with RCE to create the group exhibition Knights in Shining Armour (reappropriating the appropriated). The curator of this exhibition, Claudio Ritfeld, was inspired by the reappropriated definition of the word “nigger”, and the artistic/political intentions of Mark Steven Greenfield; reappropriate in order to neutralise the effects of racial stereotypes.
Knights in Shining Armour also shows an alternative approach on how to approximate historical objects and immaterial remnants stemming from our colonial past.
Chin up
Black people thrive, celebrate and simply exist in their inexhaustible natural appeal, transcending all European beauty standards. Against all odds generations of Black Europeans have shown to not budge and continued keeping their backs and shoulders straight, and their chin up. Oftentimes Black communities in Europe consulted (inter)continental artists, writers and philosophers among others for guidance and support into a deeper understanding of the self for the sake of revaluation. Hence the composition of contributors in this exhibition consisting mostly of international artists: Joblek (GH), Kenneth Aidoo (NL), Amos Black (NG), Ade Dare (NG), Giovanni Jona (SR), Madison Lewis (US), Zella Vanie (US/CI).
While the argument on “whether Blackface is actually racist or not” is gradually gaining ground in the Netherlands, fellow artists are reclaiming Black depictions as a means of empowerment by stealing the thunder of oppressing forces.
Humour
The hypothesis and rhetoric suggested by this exhibition is crystal clear; is there any room for a sense of humour, satire, or comedy in the context of (institutional) racism and the monumental tools of oppression? Even though Ritfeld presents this research question as a rhetorical one, many would argue there is no room for such an approach when dealing with these hefty subjects. What happens when we rephrase the question by adding “in art”; is there any room for a sense of humour, satire, or comedy in the context of (institutional) racism and the monumental tools of oppression in art?
A magical playing field unfolds in front of us when dealing with contemporary art in relation to historical facts and objects. There’s an even more mystical power implicated when we use laughter as healing aid for otherwise incurable “diseases”.
Transformation
Alongside the theory of Greenfield, Knights in Shining Armour is also deeply inspired by the historical journey and linguistic transformation of the word “nigger”. The curator attempts to draw a parallel between this phenomenon and the act of contemporary artists reappropriating black stereotypes in figurative painting. In this regard the curator is interested in how humour can function as the ultimate “Armour” deflecting or even neutralising the weapons of racism and oppression.
“In terms of linguistic theory, reappropriation can be seen as a specific case of a type of a semantic change, namely, of amelioration – a process through which a word’s meaning becomes more positive over time.” – artandpopularculture.com
EMDR Therapy
There are many different stages and forms in the process of emancipation. The wounds of our colonial past are more felt by some than others, and along the way Black culture and Black identity has shown us its resilience using various strategies. This exhibition introduces another strategy in reference, one used by Eye Movement Desensitisation and Reprocessing (EMDR) therapists. Here it applies to the viewer’s gaze on figurative paintings accentuating or even exaggerating facial features and dark-skin complexion. EMDR is a therapeutic treatment method that is mainly used for people with post-traumatic stress disorder (PTSD). An essential element in this exhibition is the burdening of the “working memory”. While viewers gaze at the paintings the portrayed characters may remind them of a traumatic racist experience. This working memory load is achieved, among other things, by eye movements. As the viewer strolls from painting to painting, and heritage object to heritage object, the immersive installation plays the actual percussive score of an altered EMDR therapy session. This treatment method is often used to restart the stalled processing of traumatic experiences, like a veteran in need of psychotherapy after coming home from an extremely violent battle.
About RCE (mission):
“Giving our future a past and our past a future. That is the core of the mission of the Government Service for Cultural Heritage. As part of the Ministry of Education, Culture and Science, we work towards that mission through the implementation of our statutory tasks such as advising fellow authorities, granting subsidies and managing the monument register. But also by using our knowledge and skills to shape the heritage care of tomorrow. Together with everyone involved in that care from governments to owners and from restoration companies to volunteers. Because the cultural heritage belongs to all of us and we decide together what belongs to the heritage, what value we assign to it and how we deal with it.
The Rijksdienst voor het Cultureel Erfgoed (RCE) is part of the Ministry of Education, Culture and Science. We work under the direct responsibility of the minister and implement legislation and regulations and heritage policy that the ministry and the service make together. We also develop practically applicable knowledge and provide advice on national monuments, landscape & living environment, archeology and movable heritage.”