Tag: Autograph ABP

  • Unsterile Clinic: silhouettes of FGM survivors

    Unsterile Clinic: silhouettes of FGM survivors

    Aida Silvestri, Type II B: Distance. From Unsterile Clinic, 2016
    Aida Silvestri, Type II B: Distance. From Unsterile Clinic, 2016

    Female genital mutilation (FGM) is the focus of Aida Silvestri’s new photography exhibition in Shoreditch.

    The practice, in which parts of a girl’s genitalia are cut off for non-medical reasons, often in the belief that it will control their sexuality, is still taboo in many parts of the world and frequently ignored by the media.

    “I had another project about migration that had lots of coverage in the arts world. But when it comes to this [FGM], they don’t want to know.

    “People are not comfortable looking at FGM images. Some say they are a little bit too harsh, but that is just an excuse. We need to be bold if we want to raise awareness,” said Ms Silvestri.

    In the midst of Shoreditch’s Friday evening revellers, six women from the fields of art, health and advocacy met at Autograph ABP gallery to discuss ongoing efforts to eradicate FGM.

    The panel, which attracted a 50-strong audience, was part of Silvestri’s Unsterile Clinic exhibition, a collection of photographs inspired by the artist’s personal experience.

    Her silhouettes of FGM survivors feature layers of hand-stitched leather showing the type of mutilation they suffered.

    Each portrait is accompanied by a poem, with the words edited from the subject’s own, moving story.

    Aida Silvestri, Type II F. From Unsterile Clinic, 2015
    Aida Silvestri, Type II F. From Unsterile Clinic, 2015

    In an interview prior to the panel, Silvestri, who was born in Eritrea but now lives and works in London, said that knowledge of FGM has improved in the UK.

    She said: “I had my first child in 2011 and nobody knew about FGM. Even though some [health workers] should have been aware, nobody said anything to me.

    “And then, with my second pregnancy, I was asked if I had undergone FGM. I said I had, and was then sent to be checked.

    “So the awareness has greatly changed, and health centres and specialist clinics dealing with FGM are doing a lot of work to raise that awareness.”

    However, Silvestri still encounters a lot of “ignorance” from people regarding her work.

    She recalled a lady at a summer festival last year, who, when confronted with her art, said: “This isn’t our problem, this is the migrant’s problem. This is a Muslim problem. We Christians wouldn’t do that.”

    The experience showed Silvestri, who is Christian herself, that people still don’t understand how widespread FGM is.

    It is practised around the world, including in Africa, South America, the Middle East and the Far East, by communities of various races, religions and traditions.

    “It is everybody’s problem,” Silvestri explained.

    But she admitted that the subject matter had made it difficult to attract attention from mainstream media.

    Education, the artist argues, is the way forward.

    “I think we need to educate more people, and it has to start in school. The government has now included FGM as part of its safeguarding, so everyone has to know about it.

    “During an Equality and Diversity workshop that I have attended recently, it was discussed that Ofsted apparently downgraded one school because the dinner lady didn’t know what FGM meant, which is really good, but we need to do more.

    “More than prosecutions, we need education and support.”

    Silvestri is planning more events to get people talking about FGM: “I’ve started a fight and I won’t stop.” And she is calling on councils to engage with locals and do more to teach youngsters about the practice.

    It was a view echoed by her fellow panellists later in the evening.

    Many issues surrounding FGM were raised during the three-hour debate: the patriarchal society within practising communities. The fact that FGM is an economically lucrative crime. The lack of clear guidelines for treating victims. The dearth of follow-up services, both psychological and physical, in the NHS.

    But one message in particular rang out loud and clear: that the key to ending FGM is educating children and practising communities about its effects, as well as providing better training for teachers and health workers.

    Deqa Dirie, health advocate and anti-FGM campaigner, said: “I’m not bashing anyone, but I know women who have been severely damaged by health professionals in the UK.”

    She called for more follow-up services for survivors in the NHS and said nurses and midwives need to be better equipped to deal with survivors.

    Emma Boyd, a senior producer at Animage Films, explained how the company works with UK charity FORWARD to produce short films for its FGM campaign.

    Boyd said they were focused on getting their message into primary schools. She introduced an animation called The True Story of Ghati and Rhobi, which is played to children across Tanzania to raise awareness of FGM. FORWARD is hoping to adapt the film into a variety of languages.

    Dianna Nammi, who founded the Iranian and Kurdish Women’s Rights Organisation (IKWRO), agreed that “talking to communities stops people doing it [FGM].”

    IKWRO has launched the Right to Know campaign, which aims to get honour-based violence, including FGM, on the national curriculum in the UK.

    Hoda Ali, a nurse and trustee of the 28toomany charity, spoke passionately about the merits of education.

    Ali survived Type 3 FGM, which involves sealing the vagina until only a very small opening remains, and said it “took away her chances of being a mother.”

    She was constantly in hospital from the age of 11 because her injuries meant her periods accumulated in her uterus. She was 17 years old when she had her first period.

    She said: “My nieces are eight and eleven, and they’re at the back tonight because they’re not too young to listen. And they will go into school and educate their teachers.”

    Ali also called for Silvestri’s work to be used at clinics, so women who have difficulty communicating with health workers can point out what type of FGM they have.

    There was controversy when a teacher in the audience asked whether compulsory medical examinations at schools should be reintroduced so cases of FGM are caught early.

    Hilary Burrage, author and chair of the debate, initially agreed, but her fellow panellists rejected the argument out of hand, saying it would do nothing to prevent FGM.

    A suggestion was raised that midwives should be trained to explain to mothers, before they leave the hospital after giving birth, the law regarding FGM and its impact on victims. Again, the emphasis was on training and education.

    The experts agreed that no amount of prosecutions or early diagnoses will end FGM: only when people are taught about the consequences of the practice will it stop.

    Aissa Edon, a specialist midwife at The Hope Clinic and a survivor of FGM, described the moment she confronted her family: “I sat my father down, and I didn’t accuse him of child abuse. I explained to him the consequences that I have to live with every day,” she said.

    “My father cried and simply said, ‘I didn’t know.’ And then he promised that no more of the girls in our family would ever be forced to suffer as I did.”

    Unsterile Clinic
    8 July – 17 September 2016
    Autograph ABP
    Rivington Place (off Rivington Street)
    London
    EC2A 3BA

  • Va-va zoom! Photomonth is upon us once more

    Living in Exile by Matthew Aslett. Part of F8 Collective, Hive Dalston
    Living in Exile by Matthew Aslett. Part of F8 Collective launch, until 18 October at Hive Dalston

    With more than 100 Photomonth exhibitions to take in over October and November, and at least 500 contributing artists, it is understandably difficult to know exactly where to focus one’s gaze.

    The state of London today is a common theme among work presented this year. For his satirical series Harrodsburg, Glaswegian Dougie Wallace ventured into West London, where he papped the mega rich out shopping in what he calls a “story of glut, greed and the widening wealth gap”.

    Harrodsburg by Dougie Wallace. Printspace
    Harrodsburg by Dougie Wallace. Until 19 October at theprintspace

    Portraits of a different kind line the walls of one East End institution. Seven photographers have snapped the tourists, shoppers, revellers and stressed out office workers who frequent Brick Lane Beigel Bake, with the results on display there this month.

    6AM by Jonathan Goldberg, Twentyfour7 at Beigel Bake
    6am by Jonathan Goldberg part of Twentyfour7 exhibition. Until 22 November at Brick Lane Beigel Bake

    The future of East London in the face of luxury blocks of flats and rising living costs is of concern to Hackney Wick resident Ansell Cizic. In The Wick and Beyond, he records those artists whose very presence in the East has helped it become an attractive proposition for property developers.

    Ansell Cizic - The Wick and Beyond – 620
    Venice Mob from East End, by Ansell Cizic. The Wick and Beyond until 1 November at Well Hung Gallery

    Jerwood Drawing Prize nominee Pete Burke takes a more voyeuristic look at what the future holds. Glimpsing the Future is a series of photographs taken through building site peepholes in Hackney, which he is displaying alongside drawings that act as a route between them.

    Pete Burke – Dalston Junction – Glimpsing the Future – Dalston Eastern Curve Garden 620
    Dalston Junction by Pete Burke, part of Glimpsing the Future, until 1 November

    Not all the exhibitions are about the here and now. Syd Shelton’s photographs of the 1970s Rock Against Racism movement capture an intriguing political period in which musicians and political activists confronted racist ideology on the streets and in parks.

    Syd Shelton – Rock Against Racism – Autograph ABP 620
    Photograph by Syd Shelton, part of Rock Against Racism, until 5 December at Autograph ABP

    Global issues come to the fore with Africa’s Last Colony, which remembers conflict in Western Sahara 40 years ago with never before seen images by UK-based photographers , while Kites from Kabul, a series of photographs of kite flying sights around Kabul and Bamiyan, provides an insight into the lives of children living in war-torn Afghanistan. (12)

    people in exile 01 Nurses going to work to Dahkla hospital at the Saharawi refugee camps of Tindouf, Argelia.photo quintina valero
    Quintana Valero, Africa’s Last Colony: 40 Years Not Forgotten, until 28 October at Hundred Years Gallery
    Andrew Quilty - Oculi –Kites from Kabul – V&A Museum of Childhood 620A young kite flier late in the afternoon on a Friday on the hill home to the tomb of Nader Khan Tomb - a popular place for kite flying - in Kabul.
    Oculi by Andrew Quilty, part of Kites from Kabul, until 3 January at the V&A Museum of Childhood

    As usual for Photomonth, there’s a staggering breadth of work on display, with subjects that push boundaries and defy categorisation. Zoo Logic by David O’Shaughnessy looks at captivity through photographs of the environments in which zoo animals are presented to the public, and Piotr Karpinski’s photographs of people doing strange things in morgues and graveyards view life and death with humour and originality.

    David O'Shaughnessy - Cercopithecus wolfi – Zoo Logical –Stour Space 620
    Cercopithecus Wolfi by David O’Shaughnessy, part of Zoo Logic. Until at Stour Space

     

    Piotr Karpinski - Old Woman with Narcissus (Let's Talk about Life & Death Darling – St James the Great 620
    Old Woman with Narcissus by Piotr Karpinski, Let’s Talk about Life & Death Darling from 1–30 November at St James the Great Church

    Deciding where to go is perhaps the main drawback to Photomonth, but with the standards of exhibitions seemingly ever rising there’s a fair chance that whatever you choose will be a winner.

  • Black Chronicles II exhibition review: Excavating black history

    Albert Jonas and John Xiniwe, The African Choir. London Stereoscopic Company, 1891.  Courtesy of © Hulton Archive/Getty Images
    Albert Jonas and John Xiniwe, The African Choir. London Stereoscopic Company, 1891. Courtesy of © Hulton Archive/Getty Images

    How can you tell what is missing from the past? Black Chronicles II, an exhibition curated by Renée Mussai and Mark Sealy, asks that question in relation to the lack of representations of black and Asian people in Britain during the 19th and early 20th century.

    The exhibition fills Rivington Place in Shoreditch with studio portraiture of men, women and children who were brought to Britain from across the British Empire. Careful research and archival excavation has gone into a large and expansive display of material ranging over two floors, and its central materials are augmented carefully by the use of more contemporary reflections on race and the archive.

    The centrepiece of the exhibition is a set of startling new prints of the members of The African Choir, a group that toured Britain between 1891 and 1893, and their large-scale portraits fill an entire wall of the gallery. These newly discovered photographs from the London Stereoscopic Company at the Hulton Archive (a division of Getty Images), have been unseen for over one hundred and twenty years, and are striking and beautiful flashes of a different time. It would have been wonderful to know more about the exact journey of this group, as they remain largely unknowable from the images presented.

    Upstairs, in what feels like the heart of the exhibition, more than one hundred original cabinet cards and cartes-de-visite are displayed, along with a laminated book of extended captions to be read alongside the images. The room is filled with the voice of Stuart Hall, the cultural theorist who lends his name to the building’s library, and enhanced by the presence of Effnik (1997), a work by Yinka Shonibare, a modern take on the kind of portraiture seen throughout the exhibition.

    The tiny cards that line the walls and their captions offer touching insights into the experience of people coming from Britain’s vast empire. Two African boys flank an imposing vicar in a card detailing the ‘Congo House for African Children’, in Colwyn Bay, Wales. But the insensitivity of some images, and the crude sensationalism of pictures advertising ‘Farini’s Friendly Zulus’ or showing ‘Hindoo Conquerors’ are undone by the exhibition’s determination to present the stories behind the anonymous figures in the pictures.

    Instead of looking at a nameless face, the captions explain that the image is of Hindu philosopher and social reformer Keshub Chunder Sen, or Samuel Crowther, the first African Anglican Bishop, or the abolitionist Sultan of Zanzibar Bargash Bin Said.

    The dignity of identity has been restored to these images, and they are not faceless, nameless or without story. They are placed within a context of history; they are present and not ignored. As I looked at these pictures, Stuart Hall, in the recorded lecture that plays in the room, made the point that we are all products of “an uneven history”. By looking at these pictures, and working to understand why they appear unfamiliar, we begin to understand the nature of that uneven history a little more.

    Black Chronicles II is at Autograph ABP, Rivington Place, EC2A 3BA until 29 November. http://autograph-abp.co.uk/exhibitions/black-chronicles-ii

    The above image is part of Black Chronicles II, a new exhibition exploring black presences in 19th and early 20th century in Britain, presented by Autograph ABP at Rivington Place, London, 12 September – 29 November, 2014. Curated by Renée Mussai and Mark Sealy. Produced in collaboration with the Hulton Archive, a division of Getty Images; and other partners. Original research supported by the Heritage Lottery Fund.