EXHIBITION GUIDE John Akomfrah Vertigo Sea Saturday 16 January Sunday 10 April 2016
ARNOLFINI For over 50 years Arnolfini has provided an innovative cultural resource for the people of Bristol and beyond. A leading centre for the contemporary arts, Arnolfini presents an ambitious programme of visual art, performance, music and film, and offers a wide range of engaging family events. An educational charity, Arnolfini provides a diverse and exciting interactive learning programme for all ages. Arnolfini is also home to a much-loved bookshop, with an exceptional range of books and gift ideas, and a café bar offering locally sourced and home baked food. If you enjoy this exhibition guide, please make a suggested donation of 1 or whatever you can afford. Arnolfini is a charity, so every donation helps us to keep great art free for all in our galleries. Thank you for visiting today, we hope to welcome you again soon. INTRODUCTION Vertigo Sea is a solo exhibition of two new works by internationally acclaimed artist and filmmaker, John Akomfrah. His films address important themes through a rich, multi-layered visual style that is both poetic and political. Placing archival film footage alongside still photography and new material, the artist investigates complex relationships between memory, identity, mortality, and filmmaking. At the heart of the exhibition, on Level 1, is a recent 48-minute long film installation Vertigo Sea from which the exhibition takes its title. On the Ground Floor in Gallery 1, a new work Tropikos is shown as a companion piece. Both works are particularly relevant for presentation here and now. They relate strongly to Bristol s maritime history and its links to the transatlantic slave trade, as well as pressing issues related to the global migration of refugees and ecological concerns. The exhibition opens with Tropikos (2016), a costume drama set in the 16th century. Exploring the point in history when Britain s economic exploitation of Africa began, this work focuses on the waterways of the South West and their relationship to the slave trade, referencing larger themes of colonialism, maritime power and loss. Vertigo Sea, a powerful three-screen film installation, invites us to reflect upon humankind s relationship
with the sea. The artist describes the work as a eulogy, commemorating lives lost at sea. It is a work that takes the viewer on an immersive journey touching on the greed and cruelty of the whaling industry, the transatlantic slave trade and the current refugee crisis. Part fiction, part natural history documentary, Vertigo Sea fuses archival footage with newly shot material and readings from classic literature to create a moving narrative. The film could be described as a tapestry of empathy: a compelling web of interrelated concerns, histories and traumas connecting to our interactions with the sea. GALLERY 1 Tropikos, 2016 Single channel video, colour, sound, 36 minutes 40 seconds, looped. A 70th Anniversary Commission for the Arts Council Collection, Southbank Centre London, with the River Tamar Project and Smoking Dogs Films. Taken together, these two lyrical and melancholic films propose a voyage of discovery and a meditation on water and the unconscious, looking specifically at the passage of migration into the UK. John Akomfrah, Tropikos (film still), 2016. Situated in Plymouth and the Tamar Valley locations with significant, though largely forgotten connections with the expansion of European power and influence Tropikos is an experimental drama set in the 16th century. John Akomfrah, Vertigo Sea (film still), 2015. Akomfrah s starting point for the film was the connection between the waterways of the South West and the slave trade. In this film, the river landscape is transformed into an historic English port to re-imagine some of the first British encounters with people from
Africa. Though a fictional narrative, the film is placed in a period when Britain s position as a global, seafaring power coincided with the enforced displacement of millions of African people across the Atlantic. It reflects on the emergence of the New World and the bleak history of the British Empire. The first English expeditions to the West African Guinea coast, in the mid-sixteenth century, departed from Plymouth initially in search of gold but quickly became involved in the trade and transport of enslaved people to America. A group of enslaved Africans were also brought to Plymouth by Captain William Towerson at around the same time, as exhibits, rather than captives. The film draws on the writings of a number of historical seafarers, whilst also referencing classic literature, specifically Milton s Paradise Lost (1667) and Shakespeare s The Tempest (1611). Akomfrah uses these texts to create a layered setting for the piece. The film uses an approach based loosely on playwright Bertolt Brecht s notion of epic theatre. Epic theatre uses a range of theatrical devices to remind the audience that they are not watching real life but a dramatised version of it, allowing viewers to make considered judgements about issues raised by the work. Adopting the costumes and mannerisms of the sixteenth century, the actors in the film appear in a series of tableaux vivantes, or living pictures, which feel both archaic and imaginary. African and European locations, characters and goods overlap with each other, as a representation of the faded traces of stories that we are asked to re-imagine. In Bristol s own history as a trading port, the transatlantic slave trade lasted around 100 years, reliant on the trafficking of human beings to trade in goods and raw commodities, bringing wealth to few and sorrow and death to millions. John Akomfrah, Tropikos (film still), 2016.
GALLERY 2, 3, AND 4 Vertigo Sea, 2015 Three channel video installation, original format HD, colour, sound, 48 minutes, looped. John Akomfrah, Vertigo Sea (film still), 2015. I wanted to make a work that spoke to [these] concerns of memory, of historicity, migration and possible futures. John Akomfrah, 2015 The sea is a reoccurring motif in John Akomfrah s work, providing a rich source material through which his interest in movement and displacement can be explored. Vertigo Sea is presented as an expanded visual essay, an approach that uses images and the relationship between them to explore themes or create narratives. The inspiration for the work came from a radio interview with a group of young Nigerian migrants who had survived an illegal crossing of the Mediterranean. They expressed the feeling of being faced by something vaster and more awesome than they had thought possible. While the sea is mesmerising, universally compelling and beautiful, it is also a uniquely inhospitable environment. It is difficult for us, as humans used to having control over our surroundings, to grasp the enormity of this constantly changing element, and the word vertigo perhaps refers to this unfathomable reach. To create the film, Akomfrah edited together footage from a wide range of sources and periods, an approach that he has developed over the course of his career, which dates back to early work that he made in the 1980s as part of the Black Audio Film Collective. He has described the act of image taking capturing an image of the present for the future as having an almost sacred aspect, in that it assures an afterlife. In handling this material there is great responsibility, since the role of the artist or editor becomes that of a custodian of our future.
The dreamlike quality of Vertigo Sea mirrors the subject of the piece. Shot on the Isle of Skye, in the Faroe Islands and Northern regions of Norway, the film depicts the exceptional beauty of the aquatic world. The BBC Natural History Unit in Bristol supported the development of the work with unique access to its archive, presenting the ocean as a primordial life source. However, the underpinning themes are of bereavement, suffering and dislocation: a cultural history of mankind at sea as both victims and perpetrators. In an early section of the film, audio recordings of migrants are played over footage related to the plight of the Vietnamese boat people. Thousands of these migrants drowned in their desperate attempt to escape persecution after the Vietnam War, an echo of our current crisis that is largely ignored in the media. Akomfrah is interested in that amnesia and how traumatic collective acts and memories are often forgotten or disregarded by society, meaning we are forever repeating history. The heritage of the millions of enslaved Africans shipped away from their homelands across the Atlantic ocean is also exposed in this film, with particular reference to the Zong massacre of 1781, an act of mass murder of slaves aboard a stranded ship for the purpose of claiming insurance money against their loss. There are poignant connections between these histories and that portrayal of the whaling industry within the film. Akomfrah draws upon two significant books directly related to the subject: Herman Melville s Moby Dick (1851), with its sense of the impermanence and precarious nature of life, and Heathcote Williams epic poem Whale Nation (1988), a harrowing but inspiring work which charts the history, intelligence and majesty of the largest mammal on earth. The gunners themselves admit that if whales could scream the industry would stop, for nobody would be able to stand it. Dr. Harry D. Lillie who served as a physician on a whaling ship in the 1940s. Like the slave trade, whaling has been a violent though hidden undercurrent instrumental to western industrialisation. Street lighting of the major cities of Europe and North America was provided by burning whale oil in the 19th century, while in the 20th century it was widely used in products ranging from margarine to makeup. These creatures, which biological research has shown to have human-like intelligence, were hunted to near extinction by people who were themselves often exploited, living for years at a time on dangerous, transoceanic hunting expeditions, earning little pay and often falling into debt with the whaling companies.
Although the comparison of whales intelligence to that of humans has been the most influential argument in support of a ban on whaling, there is a troubling contrast in the recent labelling of sea-crossing refugees as cockroaches in the media, a reflection of the limits of society s compassion for human suffering. Akomfrah has spoken about the importance of maintaining the open-endedness of found images, rather than imposing specific meaning. Positioned alongside archive film, the newly shot footage in the film appears symbolic: in these sections, ambiguous figures dressed in clothes from a range of historical periods are shown looking out to sea. There is a sense that they are waiting, perhaps for the consequences of traumas from the past, or in anticipation of a mythical flood that promises to wipe out humanity for its sins. Be not the slave of your own past. Plunge into the sublime seas, dive deep, and swim far, so shall you come back with selfrespect, with new power, with an advanced experience that shall explain and overlook the old. Vertigo Sea has been described by the artist as a series of lamentations or elegies. It includes some harrowing content, but is not intended to leave us in a state of despair. The film presents its story as a universal, humane concern something to move us to compassion, rather than freeze us with horror. GALLERY 5 Presented here is a short interview with the artist speaking about the works in the exhibition, reflecting upon his creative process, thematic sources and inspirations. Produced by the Centre for Moving Image Research, University of the West of England In Association with Arnolfini. READING ROOM Visit the Reading Room for further resources, reading materials and information relating to Vertigo Sea. We would be really interested to hear your stories and experiences of the exhibition. Ralph Waldo Emerson, 1838
ABOUT THE ARTIST John Akomfrah was born in 1957 in Accra, Ghana and lives and works in London. He is an artist and filmmaker who has achieved a huge amount of recognition for his investigations into personal and collective histories, memory, and identity. His approach to making films is essayistic and discursive rather than motivated by a desire to present linear narratives. His works are often constructed from a combination of original footage and archival material and driven by an urge to give voice to the experience of the African diaspora in Europe and the USA. Akomfrah was one of the founding members of the influential Black Audio Film Collective, a radical film group active in the 1980s and early 1990s that was itself profiled in a major exhibition in 2007 at Arnolfini and FACT in Liverpool. His work has been exhibited internationally at Documenta 11, Centre Pompidou, and The Museum of Modern Art, New York as well as at the Serpentine Gallery, Tate, Liverpool Biennial and Southbank Centre. His films have been included in many international film festivals such as Cannes, Toronto and Sundance and he has recently been shortlisted for the Artes Mundi 7 prize, the winner of which will be announced in January 2017. WRITER-IN-RESIDENCE For the duration of Vertigo Sea, Arnolfini will host Cleo Lake as writer-in-residence. Through regular blog posts, events, and a final presentation, the writer will provide an independent perspective and response to draw out themes and issues relating to the work. John Akomfrah, Vertigo Sea (film still), 2015.
EVENTS John Akomfrah in Conversation Saturday 16 January, 11am, 10 / 8 concs To coincide with Vertigo Sea, join us for a unique opportunity to hear John Akomfrah talk about his work and the exhibition at Arnolfini. The artist will be in conversation with academic, editor and writer, Anthony Downey. This talk is BSL interpreted. The Myth of Ecology and the Voice of Shame Panel Discussion Thursday 28 January, 6.30pm, 10 / 8 concs The BBC s Natural History Unit and leading independent producers make Bristol the global centre for natural history filmmaking. An expert panel explores the issues and challenges of our engagement with the natural world and its growing population, as well as looking at Bristol s historical links to the slave trade. Speakers include historian and filmmaker David Olusoga and senior tutor at the Royal College of Art, Karen Alexander. A collaboration with The Centre for Moving Image Research at the University of the West of England. Open Reading Group with We Are Here Thursday 4 February, 6.30pm, free, donations welcome Joining us via live-stream from the Netherlands, We Are Here will present performative responses and share thoughts about the relationship between poetry and protest. Through discussion between the group and audience, the reading group will explore how poetry can support protest and give voice to those who are denied the right to speak. Reading group materials will be available in advance, please contact bryony.gillard@arnolfini.org.uk or the Box Office on 0117 9172300. In the Absence of Ruins There Will be Innovation Sunday 21 February, 2pm, 6 / 4 concs A performance event featuring personal reflections and provocative politics responding to absent archives, unseen material and distant voices through the mediums of poetry, prose, audio and spoken word. Testing alternative modes of presentation and live conversation, participants will play with recomposing and recreating distinct and hidden histories to form the beginnings of a new collective Absent Archive. Presented in collaboration with Bristol based artist, Libita Clayton. F R E E E V E N T
The Sea Inside Panel Discussion Saturday 27 February, 2pm, 10 / 8 concs Vertigo Sea reflects on themes of encroachment, territory, movement and displacement. This panel discussion will further explore the symbolism of the sea and its relationship to post-colonial experience and diaspora. Through discussion and presentation, speakers will consider the sea as a site of conflict and a vessel for journeys. Guest speakers include Melanie Keen, Director, iniva, writer Philip Hoare and academic Adam Elliott-Cooper. Parallel: ICO Art + Cinema Weekend Friday 4 Sunday 6 March, weekend pass, day and individual screening tickets available This weekend mini-festival looks at contemporary artists moving image practice via guest-curated film programmes, new feature-length work, performance, discussion and more. Screenings include new commissions by Corin Sworn, Margaret Salmon, Gabriel Abrantes, Naeem Mohaiemen and Dora García. Organised by the Independent Cinema Office in partnership with LUX. Labyrinthite, Triangular Trade Friday 18 March, 8pm, 6 / 4 concs Artist and musician Seth Cooke leads a live music and sound event exploring themes of migration. The work will address Bristol s history of slavery and colonialism, involving and implicating the composer, performers and audience in the selective exploitation of resources. Seth will be joined by musicians from experimental music collective Bang the Bore. Chasing the Whale: Kings of the South Seas with Tim Eriksen & Philip Hoare Sunday 3 April, 8pm, 10 / 8 concs Chasing the Whale brings six distinctive and talented artists together for a journey into the bawdy world of the early whalers. Folk / Indie / Jazz trio Kings of the South Seas are joined by acclaimed New England traditional singer and musician Tim Eriksen. On stage they perform original music that merges folk, jazz, music hall and rock, woven together by award-winning author Philip Hoare s captivating tales and Adam Clitheroe s film portraying the powerful imagery of these voyages.
Open Reading Group led by Louis Hartnoll F R E E E V E N T FAMILY EVENTS Thursday 7 April, 6.30pm, free, donations welcome Led by writer and editor Louis Hartnoll, this session will explore themes of aesthetics and politics in Vertigo Sea alongside a range of materials including sound, image, poetry and excerpts of theoretical texts. Family Film Screening Saturdays 30 January, 27 February, 26 March, 11am, free, donations welcome Come and relax in the Dark Studio, as Arnolfini takes you on an adventure through film to explore themes from Vertigo Sea. Limited numbers, book in advance to avoid disappointment. F R E E E V E N T Reading group materials will be available in advance, please contact bryony.gillard@arnolfini.org.uk or the Box Office on 0117 917 2300. Screening: Young People s Film Project Sunday 10 April, 2pm 4pm, free, donations welcome Join us to celebrate the creative outcomes of a collaborative project between young people from Full Circle Project, St Pauls and artist and filmmaker Shawn Sobers. The event will include an introduction to the project and film screening of work produced by those involved. F R E E E V E N T Family Storytelling Tuesdays 16 February, 15 March, 10.30am, free, donations welcome Storytellers will amaze you, make you giggle and provide a morning of fun. Meet in the Café Bar and follow us to the storytelling space where you ll listen to stories inspired by the sea. Limited numbers, book in advance to avoid disappointment. We Are Family Saturdays 27 February, 26 March, 1pm 5pm, drop-in, free, donations welcome Get creative with the We Are Family workshop and join in with exciting, engaging and fun activities for young artists and their families to do together. Drop in and see what fantastic creations you can make! F R E E F R E E E V E N T E V E N T Most suitable for ages 5+ but all ages are welcome to have a go.
Family Space Tuesday 22 March Saturday 2 April, Tuesday Sunday, 11am 6pm, free, donations welcome During the Easter holidays, you are invited to explore the themes of John Akomfrah s work with us. Drop into the Light Studio and take an imaginary trip across the sea, encounter wonderful whales and listen to tales of far-off places. John Akomfrah, Tropikos (film stills), 2016. F R E E E V E N T FURTHER READING John Milton, Paradise Lost (1667), Penguin Classics; revised edition (2003) Herman Melville, Moby Dick (1851), Penguin Classics; revised edition (2012) Frantz Fanon, The Wretched of the Earth (1961), Grove Press; reprint edition (2005) Tayeb Salih, Season of Migration to the North (1966), Lynne Rienner Publishers; reprint edition (1980) Heathcote Williams, Whale Nation, Jonathan Cape (1988) Stuart Hall, Representation: Cultural Representations and Signifying Practices, Sage Publications & Open University (1997) Kodwo Eshun, The Ghosts of Songs: The Art of the Black Audio Film Collective, Chicago University Press (2007) Kobena Mercer, Exiles, Diasporas & Strangers, Institute of International Visual Arts (iniva) & MIT Press (2007) Camille T. Dungy (Ed), Black Nature: Four Centuries of African American Nature Poetry, University of Georgia Press (2009) Philip Hoare, Leviathan, Fourth Estate (2009) These publications and many other articles and resources relating to the exhibition can be found in the Reading Room.
ACKNOWLEDGEMENTS GALLERY PLAN Vertigo Sea is presented in Bristol with support awarded to Arnolfini through Arts Council England s Strategic Touring Fund. During 2016 and 2017 the work will tour to partner venues in the UK including Turner Contemporary in Margate and The Whitworth, Manchester and other venues to be announced. Level 2 Light Studio Gallery 5 Reading Room Interview with John Akomfrah Vertigo Sea is a Smoking Dogs Films production supported by Bildmuseet, Umeå and BAC-Baltic Art Center, Sweden; the Swedish Arts Council; Sharjah Art Foundation; BBC Natural History Unit, Bristol; British Film Institute; Arts Council of England and Tyneside Cinema Gallery. Level 1 Gallery 2 Gallery 3 Vertigo Sea, 2015 Tropikos is a 70th Anniversary Commission for the Arts Council Collection, Southbank Centre, London, with the River Tamar Project and Smoking Dogs Films. Gallery 4 We would like to thank Lisson Gallery for their support of the exhibition and all partners working with us on the public programme. Ground Floor Bookshop Tropikos, 2016 Café Bar Gallery 1
Photography Policy Please refrain from photographing or filming any work in the exhibition. Please share your thoughts about the exhibition via Facebook or Twitter: #JohnAkomfrah #VertigoSea @ArnolfiniArts Bookshop In the bookshop you can find a selection of publications for sale that relate to the current exhibition. Access We aim to make all visitors welcome. There are parking spaces for people with disabilities outside our main entrance, access via Farr s Lane. Our galleries are wheelchair accessible. Large print versions of this guide are available at the Box Office Exhibition spaces open: Tuesday to Sunday and Bank Holidays, 11am 6pm, Wednesdays 11am 8pm. Admission to the exhibition spaces is free. Arnolfini 16 Narrow Quay, Bristol BS1 4QA arnolfini.org.uk / @ArnolfiniArts Supported by Arnolfini is a registered charity no. 311504. Stay in Touch To join our free mailing list please speak to a member of staff at the Box Office or visit arnolfini.org.uk. You can also follow Arnolfini on Facebook, Instagram and Twitter: @ArnolfiniArts.
John Akomfrah, Vertigo Sea (film still), 2015.