The curator talks about Black Venus, her exhibition which brings together the work of Black women and non-binary artists to explore the othering, fetishisation and reclamation of narratives around Black femininity.
Danielle heads to Somerset House in London to speak with Aindrea Emelife, the Nigerian-British curator and art historian. Specialising in modern and contemporary art, with a focus on questions around colonial and decolonial histories in Africa, transnationalism and the politics of representation, her writing includes the book A Brief History of Protest Art, and in 2021, she was appointed to the Mayor of London’s Commission for Diversity in the Public Realm. She is currently Curator of Modern and Contemporary at the Museum of West African Art (MOWAA), in Edo State, Nigeria. This summer she has curated an exhibition at Somerset House in London called Black Venus, which brings together the work of 18 Black women and non-binary artists to explore the othering, fetishisation and reclamation of narratives around Black femininity. The exhibition examines the complex narratives of Black womanhood through the influences of three perceived archetypes: the Hottentot Venus, the Sable Venus, and the Jezebel, and reframes stereotypical notions of black womanhood through the work of contemporary artists including Sonia Boyce, Carrie Mae Weems, Amber Pinkerton and Lorna Simpson. Aindrea talks about how she became interested in the history of art, and why she felt this was an important theme to address.