“My work, all along, has been a critique of Empire,” says Yinka Shonibare CBE (RA), adopting the honorific title of Commander of the Order of the British Empire, with willful irony, as part of his name. “The transformation of an everyday material—as evidenced in Leonardo Drew’s reconfiguration of materials into wall-based reliefs within the show—reflects its power to act as a totem or mascot,” Shonibare tells me. There are, of course, also physical objects in this show, that more closely resemble the conventional idea of a talisman, juju (as they are known in West Africa), amulet, charm or trinket. Shonibare’s work is inspirational for reasons that span far beyond his mastery of artistic technique. The expansive exhibition makes many synaptic connections—in Gallery One, an entire wall is devoted to six works from Whitfield Lovell’s Kin series, his signature Conté crayon portraits assembled with symbolic objects: a wooden clock, a hypodermic needle, a book and plastic wedding figurines, a way to suggest a narrative for his unknown subjects from the nineteenth and twentieth centuries. Aside from the racial connotations, viewers will find many more details and interpretations to muse over in Shonibare’s installation. In our autumn 2020 issue, we speak with numerous artists about their experiences of optimism, utopia and euphoria, and delve into the mindset that is required simply to create in the first place. Courtesy the artist and Vigo Gallery, London UK, Zanele Muholi, Yaya Mavundla, Parktown, Johannesburg, 2014. © Genevieve Gaignard, courtesy of the artist and Shulamit Nazarian, Los Angeles. {{watchlist.lookupAttr('runtime', video);}}, {{watchlist.lookupAttr('progress', video)}} /, Available in English, German, Romanian, Italian, Japanese, Korean, Chinese, Italian. In this interview, conducted in October 2008 at Shonibare Studio in London, Yinka Shonibare CBE (RA) talks about his collaborative process, his vision for an artist’s residency and community (now called Guest Projects), and the meaning of failure. The artist is also on hand for the installation of a retrospective of sculptures—headless, “post-racial,” mannequins dressed in vibrant costumes—at the MCA Sydney. An artist can turn an ordinary thing into an extraordinary thing. To license this video please visit Licensing & Reproduction. Look for the plus icon next to videos throughout the site to add them here. © Zanele Muholi. “My work, all along, has been a critique of Empire,” says Yinka Shonibare CBE (RA), adopting the honorific title of Commander of the Order of the British Empire, with willful irony, as part of his name. Anything can be a talisman, but you need to believe. It’s in Gallery Two that this part of the exhibition really comes to the fore, with a spectacular wall covered with all kinds of materials with a magical presence: peanut butter in William L Pope’s work, cotton mesh and wood in Irvin Pascal’s, John Outterbridge‘s Dancer’s Charm and Betye Saar’s Dervish meet Melvin Edwards’s welded steel. Over the course of his career, the London-based artist Yinka Shonibare CBE has made films, paintings, installations, and drawings that serve as “a critique of Empire” by disrupting notions of identity and culture. Interested in showing this film in an exhibition or public screening? “We’re currently experiencing a resurgence of right-wing politics and xenophobia across the globe—we cannot shy away from the historical context of our identities,” Shonibare explains. Shonibare has chosen an impressive line-up of names for Talisman in the Age of Difference; artists whose work also closely connects with his own practice and ideas. Yinka Shonibare is a psychopomp—or “a contemporary shaman”, as Antwaun Sargent put it—who has conjured the forces of more than forty contemporary talismans at Stephen Friedman Gallery in London, in a group show that restores our belief in art’s transformative, healing potential, whether material, social, political, economic or spiritual. Click Accept and this message will go away. Shonibare’s transformation of “The Swing” functions broadly as a social commentary relevant even today. Brushing these intensely violent and brutal social dilemmas under the rug, European elites selfishly carried on their exploits while offensively basking in excess, as seen in extravagant fashion, embellished architecture, and many other aspects of life.
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