In the final episode of Living Archives, Alberta Whittle and Sekai Machache think together about freedom, urgency and slowness, their many transnational and international collaborations, and their feelings about edges.

Conversation transcript available here. Listen to more episodes here.

Living Archives is an oral histories project co-produced by the Stuart Hall Foundation and the International Curators Forum. The project is made up of six intergenerational conversations. Each conversation considers an alternative history of contemporary Britain through the testimony of UK-based diasporic artists working between the 1980s and the present-day. The project will form, what Stuart Hall calls, a “living archive of the diaspora” which maps the development, endurance, and centrality of diasporic artistic production in Britain.

Hosted by ICF’s Deputy Artistic Director, Jessica Taylor, practitioners reflected on the reasons they became artists, the development of their practices, the different moments and movements they bore witness to, and the beautiful reasons they chose to be in conversation with each other.

Hosted by Jessica Taylor

Edited by Chris Browne

Designs by Yolande Mutale

Music by LOX

Bios

Alberta Whittle is an artist, researcher, and curator. She was awarded a Turner Bursary, the Frieze Artist Award, and a Henry Moore Foundation Artist Award in 2020. Alberta is a PhD candidate at Edinburgh College of Art and is a Research Associate at The University of Johannesburg. She was a RAW Academie Fellow at RAW Material in Dakar in 2018 and is the Margaret Tait Award winner for 2018/9.

Her creative practice is motivated by the desire to manifest self-compassion and collective care as key methods in battling anti-blackness. She choreographs interactive installations, using film, sculpture, and performance as site-specific artworks in public and private spaces.

Alberta has exhibited and performed in various solo and group shows, including at Jupiter Artland (2021), Gothenburg Biennale (2021), The Lisson Gallery (2021), MIMA (2021), Viborg Kunstal (2021), Remai Modern (2021), Liverpool Biennale (2021), Art Night London (2021), The British Art Show – Aberdeen (2021), Glasgow International (2021), Glasgow International (2020), Grand Union (2020), Eastside Projects (2020), DCA (2019), GoMA, Glasgow (2019), Pig Rock Bothy at the National Galleries of Scotland, Edinburgh (2019), 13th Havana Biennale, Cuba (2019), The Tyburn Gallery, London (2019), The City Arts Centre, Edinburgh (2019), The Showroom, London (2018), National Art Gallery of the Bahamas (2018), RAW Material, Dakar (2018), FADA Gallery, Johannesburg (2018), the Apartheid Museum, Johannesburg (2017), FRAMER FRAMED, Amsterdam (2015), Goethe On Main, Johannesburg (2015), at the Johannesburg Pavilion at the 56th Venice Biennale, Venice (2015), and BOZAR, Brussels (2014), amongst others.

Her work has been acquired for the UK National Collections, The Scottish National Gallery Collections, Glasgow Museums Collections and The Contemporary Art Research Collection at Edinburgh College of Art amongst other private collections.

Alberta is representing Scotland at the 59th Venice Biennale in 2022. And over 2021, Alberta will be sharing new work as part of the British Art Show 9, RESET at Jupiter Artland, Right of Admission at the University of Johannesburg, Art from Britain and The Caribbean at Tate Modern, Sex Ecologies at Kunstal Trondheim, Norway, In The Castle Of My Skin (MIMA) and Gothenburg Biennale (2021).

Alberta’s writing has been published in MAP magazine, Visual Culture in Britain, Visual Studies, Art South Africa and Critical Arts Academic Journal.

Sekai Machache (she/they) is a Zimbabwean-Scottish visual artist and curator based in Glasgow, Scotland. Her work is a deep interrogation of the notion of self, in which photography plays a crucial role in supporting an exploration of the historical and cultural imaginary.

Aspects of her photographic practice are formulated through digital studio-based compositions utilising body paint and muted lighting to create images that appear to emerge from darkness.

In recent works she expands to incorporate other media and approaches that can help to evoke that which is invisible and undocumented. She is interested in the relationship between spirituality, dreaming and the role of the artist in disseminating symbolic imagery to provide a space for healing against contexts of colonialism and loss.

Sekai is the recipient of the 2020 RSA Morton Award and is an artist in residence with the Talbot Rice Residency Programme 2021-2023.

Sekai works internationally and often collaboratively, for and with her community and is a founding and organising member of theYon Afro Collective (YAC).

Produced with funding from the Centre on the Dynamics of Ethnicity (CoDE) and Arts Council England.

For the 7th Annual Stuart Hall Public Conversation, the Stuart Hall Foundation welcomed acclaimed filmmaker and installation artist Isaac Julien. The event took place on Saturday 23rd March 2024 at Conway Hall, London, inaugurating our Catastrophe and Emergence programme.

Isaac’s keynote presentation explored the connection between image-making and political allegory. He drew upon his conversations with Stuart Hall over the years to reflect on how ideas, language and narratives can transform within a visual frame, presenting new modes of the imaginary. “Stuart’s double position,” Isaac reflected, “eagerly greeting this new wave of left-wing thought but subjecting it to rigorous critique, was instrumental in helping me form my own path through the stories that my research turned up.”

The event also included a new, two-screen presentation of Isaac Julien’s immersive installation, Once Again… (Statues Never Die). Tapping into his extensive research in the archives of the Barnes Foundation, Isaac’s film considers the reciprocal impact of Alain Locke’s political philosophy and cultural organising activities, and Albert C. Barnes’ pioneering art collecting and democratic, inclusive educational enterprise. This was the first time the piece was shown in this format in the UK. Following the screening, Isaac was joined in conversation with Gilane Tawadros, Chair of the Stuart Hall Foundation and Director of the Whitechapel Gallery. An audience Q&A also took place, and Newham Bookshop provided a stall for attendees to browse from.

Additionally, the inaugural Stuart Hall Essay Prize was awarded to its first winner, Hashem Abushama, for the essay “a map without guarantees: Stuart Hall and Palestinian geographies”. Trustee and judging panel member Catherine Hall presented the award to Hashem, whose acceptance speech provided additional valuable context to the essay’s creation and content.

In partnership with Conway Hall supported by Esmée Fairbairn Foundation, Barry Amiel and Norman Melburn Trust and Cockayne Grants for the Arts, a donor-advised fund held at The London Community Foundation.

Abstract

This essay considers the possibility of what I would call conjunctural translation. While literal translation has accelerated cultural ethnocentrism as well as settler colonial violence, conjunctural translation seeks to glimpse the possibility of solidarity buried beneath the collaborative rule among the empires. This essay first retraces colonial modernity in the British Caribbean and Britain. Reading the selected chapters from Familiar Stranger, I propose that this memoir registers the three phases of colonial modernity: transatlantic slavery, migration to metropolis, and the prison-house of identity politics. In contrast to this, literal translation was at the core of cultural ethnocentrism that underpinned colonial modernity in Korea and Japan. The second part of this essay explicates the relationship between colonialism and modernity in East Asia that is punctuated by the following three phases: settler colonialism, migration to metropolises, and the curtailment of identity and citizenship. In this case, each phase appeared as deprivation of land, migration to Japan and the crises of security, and the loss of nationality during the Cold War era. The last part of the essay concerns unpredictable connections between colonial modernities. Though separately formed in the transatlantic and transpacific regions, these modernities create crosscurrents of thought, struggles, defeats and victories: conjunctures. Published in the early 1950s, the writings of Martin Carter and C. L. R. James differently refer to the Korean War. By comparing their work, this essay concludes that the future of solidarity comes from ‘the ability to be exposed’. As Hall unexpectedly encountered the Caribbean migrants in London in the key moments of his memoir, such conjunctural translation was undertaken by the Caribbean intellectuals of the 1950s. To expose oneself to these unexpected encounters is the very momentum that urges us to be vigilant to the dangers of literal translation.

Read the article in full on the Taylor & Francis website.

About the author

Yutaka Yoshida is an associate professor at Tokyo University of Science. His interests include Caribbean literature and comparative literature in the Cold War era. His monograph Literary History of the Destitute: Empire and the Crowds in Modernity was published in Japan (Getsuyo-sha, 2021) and South Korea (Bogosabooks, 2024). He has translated George Lamming’s In the Castle of My Skin, Stuart Hall’s memoir Familiar Stranger, and Uncut Funk by bell hooks and Stuart Hall. His articles on Caribbean literature have been published in Journal of Commonwealth Literature and Inter-Asia Cultural Studies.

Stuart Hall in Translation

The ‘Stuart Hall in Translation’ series observes Stuart Hall’s ideas in motion by tracing their resonances and transformations as they oscillate between languages, historical moments, and varying socio-political contexts.  The series, produced in partnership with Cultural Studies journal, invites translators of Stuart Hall’s work from across the world to reflect on the following questions:

• What can be lost and gained when texts are translated into different languages?
• Can ideas form linkages across difference?
• How can ideas transcend spatial and temporal boundaries?
• What are the political implications associated with ideas moving across and between temporal and spatial boundaries?

To initiate the project, in August 2022 the Stuart Hall Foundation invited Bill Schwarz, co-author of Stuart Hall’s memoir Familiar Stranger, and Liv Sovik, professor of Communication at Universidade Federal do Rio de Janeiro, to discuss the nuances of translating Familiar Stranger and Hall’s ideas into Portuguese for a Brazilian audience.

In 2024, the Foundation extended the invitation to other translators of Hall’s work, asking them to write about their own experiences, and addressing the disparities, challenges, and synergies of translating Hall’s ideas into a different language and national context. These new texts are now published in Cultural Studies and shared on the Stuart Hall Foundation website, featuring contributions from Victor Rego Diaz, Natascha Khakpour, Jan Niggemann, Ingo Pohn-Lauggas, Nora Räthzel, Yutaka Yoshida, Eduardo Restrepo and K Biswas.

Part of our ‘Catastrophe and Emergence‘ programme.

Supported by Taylor & Francis, Esmée Fairbairn Foundation and the Barry Amiel and Norman Melburn Trust.

The Stuart Hall Foundation’s Reading the Crisis series asks: what kinds of tools and strategies are needed to address this conjuncture? This online conversation series seeks to advance Stuart Hall’s thinking by analysing a curated selection of three of Hall’s essays in relation to present-day political formations. Each conversation, chaired by Aasiya Lodhi, forms an online teach-in space dedicated to demonstrating how engaging in a conjunctural analysis can enrich artistic practice, deepen organising work, and academic study.

The third event in the series took place on Tuesday 23rd July 2024, featuring Gail Lewis and Roderick Ferguson responding to Stuart Hall’s 1990 essay ‘Cultural Identity and Diaspora’.

Read a transcript of the event here:
https://www.stuarthallfoundation.org/wp-content/uploads/2024/09/RTC-Episode-3-Transcript.pdf

In partnership with Duke University Press supported by Esmée Fairbairn Foundation and Barry Amiel and Norman Melburn Trust.

Reading the Crisis is part of the Stuart Hall Foundation’s Catastrophe and Emergence programme. Learn more about Catastrophe and Emergence here:
https://www.stuarthallfoundation.org/projects/catastrophe-and-emergence/