@Camberwell College of Arts

Content from the Zine was displayed in Camberwell College of Arts library from 4-21 December, alongside an exhibition guest curated by artist Raju Rage

As part of the events at Camberwell, organised by Associate Lecturer Rahul Patel with Academic Support Librarian Gustavo Grandal Montero and other staff and students, there were a series of lunch time book talks by staff and students, discussing titles that had been influential in their thinking about decolonisation and related ideas. The talks were held in the Library between 1-2pm through the duration of the exhibition.

 

On 5 December Dan Sturgis (Programme Director UG Fine Art) hosted a lunchtime book talk on the publication 1971 – a year in the life of colour by Darby English (pictured above left).

A launch event took place on 4 December, starting with a tour of the Library exhibition, followed by talks from Rahul Patel, Raju Rage, E Okobi, Yasmeen Thantrey (pictured above), Sharon Bertram, Mikael Calandra Achode, Richenda Gwilt and Annie-Marie Akussah.

Camberwell staff participated in a workshop, at the CCW Staff Conference on 21 November, on Decolonising Spaces and Places of Learning with Lucy Panesar, in which they unpacked the following quote by Gurnam Singh, from page 1 of the Zine:

‘…perhaps the project of decolonisation is less about seeking out authentic culture as such but more about the opening up of creative spaces to facilitate the production of culture informed by indigenous thinking and doing. As George Sefa Dei* notes, the recognition of indigenous knowledge as legitimate in its own right requires that we rethink institutional spaces in which philosophy is done and envisage new ‘non-hierarchical’ spaces of knowing.’

Also in November, students from BA Illustration had a workshop with Rahul Patel and Lucy Panesar on Decolonising the Disciplines, looking at the following quote from Rasheed Araeen, included on page 26 of the Zine:

‘One shouldn’t perhaps look at the art education institutions alone for the answers, as they are only parts of the art establishment at large. The knowledge which is passed on to art students is actually the knowledge received from the art establishment (i.e., art galleries, museums, art publications, etc.) generated by its recognition and signification of art activity. And since this recognition has not been given to black artists, even when some of them have been on the forefront of new developments in contemporary visual arts, they have remained, along with their contributions, invisible’ (National Conference On Art and Design through Education, 1981).

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