Grace Ndiritu

Grace Ndiritu born 1982[1][2][3][4] in Birmingham, UK. Ndiritu is an international visual artist. At the age of 22, she was taught art in Amsterdam by British film director Steven Rodney "Steve" McQueen. In 2009 her art was in the Metropolitan Museum of Art collection in New York,[5] gaining a place in Phaidon's The 21st Century Art Book published in 2014[6] and Time magazine in 2020.[7] In 2014 she was named one of the "ten most important and influential artists under 40" by Apollo magazine.[8] Her ideas between the rural and urban have been documented in Whitechapel Gallery's publication: Documents of Contemporary Art: The Rural (2019) MIT Press.[9] Ndiritu has also written Dissent Without Modification, published by Bergen Kunsthall (2021).[10] It is a post-hippie, skate, surf, street, neo-tribal book on youth culture, which has inspired her pay what you can fashion label COVERSLUT. Founded by Ndiritu in 2018, the fashion brand focuses on issues of democracy, race and class politics. Ndiritu has declared that 2020 is The Year of Black Healing. A year long programme of exhibitions, performances and talks in collaboration with institutions across the world, which has been featured on The Sunday Times radio show with Mariella Frostrup and Elephant magazine.[11]

COVERSLUT Dissent T-shirt

Grace Ndiritu
Ndiritu in 2021
BornJune 1982 (age 39–40)[1][2][3][4]
Birmingham, England
OccupationVisual artist
Notable work
The Nightingale, Still Life, Healing the Museum, The Ark, COVERSLUT

Education

Ndiritu studied textile art at Winchester School of Art, UK and De Ateliers, Amsterdam. Her teachers included Marlene Dumas (painter), Steve McQueen (film director), Tacita Dean (artist) and Stan Douglas (artist).[12] Afterwards she attended a UK studio residency, Delfina Foundation, London (2004-2006).

Personal
The Ark, Center For Interdisciplinary Experimentation, Public Weekend Performance

Ndiritu took the decision in 2012 to only spend time in the city when necessary, and to otherwise live in rural, alternative and often spiritual communities, while expanding her research into nomadic lifestyles and training in esoteric studies such as shamanism, which she began over 16 years ago. In her research she has visited Thai and Tibetan Buddhist monasteries, permaculture communities in New Zealand, forest tree dwellers in Argentina, neo-tribal festivals including the Burning Man in Nevada, a Hare Krishna ashram and the Findhorn New Age community in Scotland. A result of this research was her ambitious post-internet living research/live art project, The Ark: Center For Interdisciplinary Experimentation,[13] that took place from 1 to 10 July 2017.

Work
Ndiritu - Dreaming the Museum Back to Life

In 2012, Ndiritu began creating a new body of works under the title Healing The Museum.[11] It came out of a need to re-introduce non-rational methodologies such as shamanism to re-activate the "sacredness" of art spaces. Ndiritu believes that most modern art institutions are out of sync with their audiences' everyday experiences and the widespread socio-economical and political changes that have taken place globally in the recent decades, have further eroded the relationship between museums and their audiences and she believes museums are dying. Ndiritu sees shamanism as a way to re-activate the dying art space as a space for sharing, participation and ethics. From prehistoric to modern times the shaman was not only the group healer and facilitator of peace but also the creative; the artist. In 2019 Ndiritu led a group of museum directors, academics, activists and artists, in a reading group with meditation at the controversial AfricaMuseum in Tervuren, Belgium, as part of conference Everything Passes Except the Past organized by Goethe Institut, on the restitution of objects and human remains from Europe back to Congo.[14][15]

Performance
Reading group Healing the Museum led by Ndiritu in the AfricaMuseum, Tervuren 2019

Since 2013 Ndiritu has been doing shamanic performances as part of her visual art practice, as a result of her training in esoteric studies such as shamanism, which she began over 16 years ago. In 2017 she was invited to give a talk on her work at Fondation Ricard in Paris, alongside other renown speakers such as Carolyn Christov-Bakargiev - director of Documenta 13 art exhibition and Fabrice Hergott - director of Musée d'Art Moderne de la ville de Paris[16] She has also written essays about museums and exhibition making Healing The Museum (2016), Ways of Seeing: A New Museum Story for Planet Earth (2017) and Institutional Racism & Spiritual Practice in the art world (2019).[17] Her most ambitious shamanic performance to date A Meal For My Ancestors: Healing The Museum, included staff members of the U.N., NATO and EU parliament, activists, and refugees at Thalielab, Brussels (2018).[11] A briefing paper on climate change and refugees directly inspired by the performance, written by one of the participants, has now been published by the EU Parliament Research Services (May 2018).[18] To date Ndiritu's performances have taken place at Fundacion Tapies, Barcelona (2017),[19] Laboratoires d'Aubervilliers, Paris (2016),[20] Glasgow School of Art (2015),[21] Galveston Artist Residency Garden, Texas (2015),[22] Museum of Modern Art, Warsaw (2014),[23] Musee Chasse & Nature, Paris (2013),[24] Centre Pompidou, Paris (2013).[25]

Film/video
Still Life White Textiles

Her archive of over forty "hand-crafted" videos are largely held in the archive of LUX - British Artists Film/Video archive.[26] Notably her video The Nightingale has been shown during the 51st Venice Biennale (2005)[27] and is now housed the Metropolitan Museum of Art, New York.[28] Furthermore, her video Still Life White Textiles (2007) has been used as a reference in art appreciation and art history classes throughout colleges and universities since 2010. A World Of Art, 7th Edition-Henry M. Sayre - Question: What was the inspiration for Ndiritu's Still Life: White Textiles? Answer: a) traditional Yoruba rituals b) an exhibition of work by Henri Matisse in 2005 in London c) erotic puppet shows d) the action paintings of Jackson Pollock[29]

Photography
AQFM Vol. 8 Contemporary Art Gallery, Vancouver

Since 2010, Ndiritu has been creating an encyclopaedic archive of images, entitled A Quest For Meaning (AQFM) It is a universal narrative, a creation story from the beginning of time. Told through photography it tells "stories" between similarly disparate objects and events from the Big Bang until now, by conjuring up and making new connections between them. Abstract photography allows Ndiritu to explore the formalism of the still life genre in such a way that what appears in the microcosm of the photograph is a reflection of what occurs in the macrocosm of the universe. Closely connected to her interests in the moving image, the various themes in AQFM perpetually expand to create photographic constellations.[30][31]

Painting
Post-Hippie Pop-Abstraction - Works on Paper

Ndiritu describes her method of painting as Post-Hippie Pop-Abstraction. It was used as the basis for her SWEATSHOP series of painting installations,[32] which look at the idea of the sweatshop from three juxtaposing yet overlapping angles: Indigenous Tribes who are producing culture and spirituality to feed the New Age movement in the West; The Art Studio - artists who are making objects to feed the art market; Third World Countries - where poorly paid workers make products to feed the luxury, fashion, global consumer market.[33]

Research projects

COVERSLUT is a fashion and economic research project from Ndiritu founded in 2018. It focuses on dealing with issues of race, gender and class politics. It incorporates capitalist, pay what you can and ethical/environmental strategies into its economic framework. It is inspired by her own writings and thinkers such as Muhammad Yunus (micro loans), Charles Einstein (sacred economics), Vandava Shiva (economic feminism), Stewart Brand (Whole Earth Catalog). Ndiritu's use of pay what you can in her own art practice has influenced several art institutions including Eastside Projects, Birmingham - Artists Led Multiverse Summit[34] and Kunsthal Ghent's[35] admission fee for their new building and Coventry Biennale, UK in 2019 - to adopt a pay what you can policy inspired by Ndiritu's ideas on institutional critique and structural change.

The Ark: Center For Interdisciplinary Experimentation, took place from 1 to 10 July 2017 in Paris. Part scientific experiment and part spiritual experience, it focused on the role of art, science, spirituality and politics. In order to encourage creativity and vulnerability and to come up with radical, new ways of thinking about life and the problems of today's world, The Ark had no audience for the first six days, so the 15 participants (scientists, artists, gardeners, economists, chef, spiritual workers) could go deeper into this process. The Ark aimed to firstly open a dialogue between its own participants through a multiplicity of themes including Plants, Biology, Shamanism, Meditation, Food, Philosophy, Communities, Education, Architecture, Future of Cities, Democracy and Activism; and secondly with a wider audience during the Public Weekend - performances, film screenings, BBQ party and Academic Roundtable.

Writing

At age fourteen, Ndiritu was published by Oxford University Press.[36] More recently Ndiritu's experimental art writing has been published by Animal Shelter Journal Semiotext(e) MIT Press.[37]

Her political essays "A Call To White America: A Response to Donald J. Trump" (2016), "Notes To a White Left World: Activism in this Current Political Crisis" (2017), "Love in The Time of Trump: The Problematics of Kanye West" (2018)[17] and "The Healing of America" (2020)[38] are published online.

Her first book Dissent Without Modification[10] published by Bergen Kunsthall, Norway (2021) is a critical theory book, made up of research interviews with interesting, radical, progressive, forward thinking women who started their careers in the 1990s. A mixture of known and unknown American, European and African women working as painters, photographers, performance artists, hackers, activists, and educators. What joins these brilliant women together, aged from their late thirties to their sixties is a sub-textual theme that the decade of the 90's had a culturally significant impact on their politics, creativity, career and personal life choices. It was a creative coming of age period that changed their life's trajectory forever.

Press reviews

In November 2021, Adrian Searle wrote a review for The Guardian praising Our Silver City 2094 and gave it four out of five stars:[39]

Our Silver City feels full of hope, vitality, energy and creative spark, and doesn't take itself too seriously, however real the approaching calamity ... Ndiritu and Condorelli provide the show's best two galleries. Each have created exhibitions in their own right and both have created mise en scènes that are part environments, part exercises in exhibition design and part artworks in themselves, however many things by other artists and makers, however many curious objects and loans from museums they subsume. There's an overriding and infectious air of collaboration.

In April 2017, Ndiritu was interviewed for The Most Amazing People about death, love, art, grief, and River Phoenix.[40]

In September 2014, Apollo magazine published "40 Under 40", an annual issue dedicated to the ten most important and influential artists under forty. The first edition was for artists in Europe, in which Ndiritu was included alongside Idris Khan, Danh Vō, Ryan Gander, Cyprien Gaillard, Lynette Yiadom-Boakye, Adrian Ghenie, Ed Atkins, Lucy McKenzie, Ragnar Kjartansson.[8] In 2015 Apollo published their second edition which listed artists in the United States. It included Rashid Johnson, Tauba Auerbach, Kevin Beasley, Cory Arcangel, Diana Al-Hadid, Camille Henrot, Ryan Trecartin, LaToya Ruby Frazier, Walead Beshty, Dana Schutz.[41]

In 2011 Ndiritu's video Desert Storm (2004) was also compared to Titian's The Rape of Europa (1562), Delacroix's painting Death of Sardanapalus (1827), Goya's Disasters of War series of drawings and Gentileschi's painting Susanna and the Elders (1610), by Caroline Bagenal for Afterimage magazine.[42]

Exhibitions

Her archive of over forty 'hand-crafted' videos; experimental photography, painting and shamanic performances have been widely exhibited. Recent solo exhibitions included Recent solo performances and screenings include S.M.A.K. & M.S.K., Belgium (2019), AfricaMuseum, Tervuren, Belgium (2019), Fundació Antoni Tàpies, Barcelona (2017), Laboratoires d'Aubervilliers, Paris (2016), Glasgow School of Art (2015), Galveston Artists Residency, Texas (2015), Museum Modern of Art, Warsaw (2014), Musee Chasse & Nature and Centre Pompidou, Paris (2013), ICA Artist Film Survey, London (2011), Artprojx at Prince Charles Cinema London (2009). Recent solo exhibitions include, Bluecoat, Liverpool (2019), Glasgow School of Art (2015), La Ira De Dios, Buenos Aires (2014),[43] Chisenhale Gallery, London (2007),[44] the 51st Venice Biennale (2005)[27] and Ikon Gallery, Birmingham (2005).[45] Recent solo performances and screenings include Museum Modern of Art, Warsaw (2014), Musee Chasse & Nature and Centre Pompidou, Paris (2013), ICA Artist Film Survey, London (2011), Artprojx at Prince Charles Cinema London (2009).

Recent group shows include Nottingham Contemporary (2021), Coventry Biennal (2021), Museum Arnhem, Netherlands (2020), Fondazione Sandretto Re Rebaudengo, Torino (2020), Freelands Foundation, London (2019) Eastside Projects, Birmingham (2018), Bluecoat Gallery, Liverpool (2017), CAMH Houston (2015), MAC International Art Prize, Belfast (2014),[46] Kulte Gallery, Casablanca (2014), MACBA, Barcelona (2014), 9th Bamako Biennale (2011), International Center of Photography, New York (2009), 8th Dakar Biennale (2008), Amnesty International (2005).[47] She was awarded first prize for Landscape Video and Photography, at the Centre for Art and Nature, Spain (2010). Her work has been commissioned by Glasgow School of Art (2015), MACBA, Barcelona (2014), Bluecoat Gallery, Liverpool (2010), Chisenhale Gallery, London (2007)[48] and Glynn Vivian Gallery, Wales (2006).

Ndiritu's work is also housed in museum collections such as the British Council, London, Metropolitan Museum of Art, New York and Modern Art Museum, Warsaw. Her work is also in the private collection of King Mohammed VI, Morocco, as well as The Walther Collection.[49]

Notes

    References
    1. "Grace Ndiritu". MutualArt. Archived from the original on 10 September 2021. Retrieved 10 September 2021.
    2. "Grace Ndiritu". British Art Show 9. 10 July 2021. Archived from the original on 10 September 2021. Retrieved 26 February 2022.
    3. "Grace Ndiritu, the Lubumbashi Tapestries: Decolonizing the Production of Textiles, 2019, Collectie Mu.ZEE". 12 April 2020. Archived from the original on 10 September 2021. Retrieved 10 September 2021.
    4. "Grace Ndiritu | Artists | Collection | British Council − Visual Arts". Archived from the original on 10 September 2021. Retrieved 10 September 2021.
    5. Alisa La Gamma (2009). "The Nightingale". www.metmuseum.org. New York: The Metropolitan Museum of Art. Archived from the original on 19 July 2016. Retrieved 20 July 2016. Met Collection Accession Number: 2009.375
    6. The Twenty First Century Art Book. Phaidon Press. 2014. ISBN 978-0-7148-6739-7.
    7. "How Artists and Curators Think We Can Repatriate Colonial Artifacts". Time. Archived from the original on 22 October 2020. Retrieved 22 October 2020.
    8. "40 Under 40 Europe". Apollo (July/August). 2014. Archived from the original on 28 July 2016. Retrieved 20 July 2016. The most inspirational young people in the European art world
    9. The Rural | the MIT Press. Whitechapel: Documents of Contemporary Art. MIT Press. 12 March 2019. ISBN 9780262537162. Archived from the original on 17 January 2019. Retrieved 28 January 2019.
    10. "Dissent Without Modification". Dissent Without Modification. Archived from the original on 7 February 2022. Retrieved 26 February 2022.
    11. "Western Museums Are Problematic: What Can be Done to Change Them?". 25 September 2020. Archived from the original on 20 October 2020. Retrieved 22 October 2020.
    12. van den Boogerd, Dominic (2016). "De Ateliers Guest Tutors". www.de-ateliers.nl/ (in English and Dutch). Amsterdam: De Ateliers. Archived from the original on 17 August 2016. Retrieved 20 July 2016.
    13. "Grace Ndiritu". Thearkcenterexperiment.com. Archived from the original on 24 December 2021. Retrieved 26 February 2022.
    14. "Atelier: Tout passe sauf le passé - Goethe-Institut Belgien". Archived from the original on 26 February 2022. Retrieved 15 May 2019.
    15. "About Grace Ndiritu". gracendiritu.com/. cargo. Archived from the original on 5 May 2016. Retrieved 15 May 2016.
    16. ""Le sens de l'Histoire", Grace Ndiritu". 28 June 2017. Archived from the original on 5 August 2017. Retrieved 4 August 2017.
    17. "Grace Ndiritu - Academia.edu". Archived from the original on 2 November 2018. Retrieved 20 July 2016.
    18. "The Concept of Climate Refugee: Towards a Possible Solution". Archived from the original on 26 February 2022. Retrieved 1 June 2018.
    19. "Archived copy". Archived from the original on 5 August 2017. Retrieved 4 August 2017.{{cite web}}: CS1 maint: archived copy as title (link)
    20. Les Laboratoires d'Aubervilliers (2016). "A Therapeutic Townhall Meeting: Healing the Museum". Archived from the original on 5 August 2017. Retrieved 15 May 2016.
    21. Glasgow School of Art, Reid Gallery. "A Return to Normalcy: Birth of a New Museum". Archived from the original on 29 June 2016. Retrieved 15 May 2016.
    22. Schnell, Eric (2015). "Island Time: Galveston Artist Residency – The First Four Years". camh.org. Texas: Contemporary Art Museum Houston. Archived from the original on 31 May 2016. Retrieved 20 July 2016.
    23. Museum of Modern Art, Warsaw. "Spring Rites: Birthing of a New Museum (Part 1)". Archived from the original on 5 August 2017. Retrieved 15 May 2016.
    24. Musee Chasse & Nature, Paris (2013). "Women Who Run with Wolves". Archived from the original on 5 October 2015. Retrieved 15 May 2016.
    25. Centre Pompidou, Paris (2013). "For a Shamanic Cinema: alternative strategies in the practice of performance". Archived from the original on 5 August 2017. Retrieved 15 May 2016.
    26. Ndiritu, Grace. "LUX Artists Moving Image". lux.org.uk. London: LUX. Archived from the original on 4 August 2016. Retrieved 20 July 2016.
    27. Ndiritu, Grace (2005). Grace Ndiritu. Birmingham: Ikon Gallery Ltd. p. 14. ISBN 1-904864-09-0. Archived from the original on 19 April 2016. Retrieved 20 July 2016.
    28. LaGamma, Alicia; Giuntini, Christine (2008). Essential art of African textiles. New Haven: Yale University Press. ISBN 9780300149623. OCLC 244293227.
    29. Sayre, Henry M (2010). A World of Art (6th, 7th ed.). London: Pearson, Prentice Hall. ISBN 9780205887576. Archived from the original on 24 January 2016. Retrieved 20 July 2016. {{cite book}}: External link in |ref= (help)
    30. Caldwell, Ellen C. (April 2016). "New American Painting". newamericanpaintings.com. Boston: New American Painting. Archived from the original on 21 September 2020. Retrieved 20 July 2016.
    31. Laurence, Robin (11 April 2018). "Time travels in Contemporary Art Gallery's Blue Hour". The Georgia Straight. Archived from the original on 13 April 2018. Retrieved 12 April 2018.
    32. Reid Gallery (2015). "Workers: Post-Hippie Pop-Abstraction (2015)". Archived from the original on 22 June 2016. Retrieved 15 May 2016.
    33. d'Ettorre, Benedetta (2016). "A Return to Normalcy: Birth of a New Museum - Curating Contemporary Art". www.academia.edu. London: Academia. Archived from the original on 26 February 2022. Retrieved 4 December 2017.
    34. "Artist Run Multiverse Summit". Archived from the original on 29 January 2019. Retrieved 28 January 2019.
    35. "Archived copy" (PDF). Archived from the original (PDF) on 29 January 2019. Retrieved 28 January 2019.{{cite web}}: CS1 maint: archived copy as title (link)
    36. Lockwood, Lockwood (1992). The Oxford English Programme 4A: National Curriculum Key Stage 4 Bk.4. Oxford: Oxford University Press. ISBN 0198311761. Archived from the original on 5 August 2017. Retrieved 20 July 2016.
    37. El Kholti., Hedi (2013). Animal Shelter (Issue 3 ed.). US: Semiotexte. ISBN 9781584351320. Archived from the original on 5 March 2016. Retrieved 20 July 2016.
    38. "The Healing of America (Grace Ndiritu)". Archived from the original on 20 January 2021. Retrieved 18 January 2021.
    39. Searle, Adrian (23 November 2021). "Fire, flood and frozen goldfish: Our Silver City 2094 reveals Nottingham's future – review". The Guardian. Archived from the original on 16 December 2021. Retrieved 16 December 2021.
    40. "#TMAP0015 - Grace N. [Full Episode]". Most Amazing People Interview. August 2017. Archived from the original on 26 February 2022. Retrieved 16 August 2017.
    41. "40 Under 40 USA". Apollo (September). 2015. Archived from the original on 28 July 2016. Retrieved 20 July 2016. The most inspirational young people in the US art world
    42. Bagenal, Caroline (2011). "Ravishing Beauty: The Aesthetics of Rape in Grace Ndiritu's video Desert Storm". Afterimage. Rochester, New York: Visual Studies Workshop. The Aesthetics of Rape (39): http://gracendiritu.com/Press-Reviews/Afterimage-Magazine-The-Aesthetics-of-Rape-2011. Archived from the original on 13 May 2017. Retrieved 20 July 2016.
    43. La Ira De Dios (August 2014). "A Quest For Meaning". Archived from the original on 30 July 2016. Retrieved 15 May 2016.
    44. Chisenhale Gallery (2007). "Still Life and Responsible Tourism". Archived from the original on 18 April 2016. Retrieved 15 May 2016.
    45. Northern Ireland, BBC (July 2014). "MAC International". BBC. Northern Ireland: BBC. Archived from the original on 5 August 2017. Retrieved 21 June 2018.
    46. Ndiritu, Grace (2005). "Amnesty International's Imagine a World exhibition index | | guardian.co.uk Arts". The Guardian. London. Archived from the original on 21 February 2017. Retrieved 20 July 2016.
    47. Gronlund, Melissa (May 2007). "Grace Ndiritu". frieze. No. 107. London. Archived from the original on 22 February 2017. Retrieved 20 July 2016.
    48. "Grace Ndiritu: A Quest For Meaning Vol. 7: Bright Young Things | Klowden Mann | Artsy". www.artsy.net. Archived from the original on 27 March 2018. Retrieved 26 March 2018.
    This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.