Posted on March 4, 2015
Marlon Griffith, POSITIONS + POWER, Port of Spain, Trinidad, 2014. Photo: Marlon James.
The upcoming opening of EN MAS’: Carnival and Performance Art of the Caribbean at the Contemporary Arts Center, New Orleans was recently previewed in an article by Will Coviello for Gambit. The article largely focuses on EN MAS’ curator Claire Tancons, the impetus behind the exhibition, and the specificity of Carnival and traditions of performance in the Caribbean.
“In her critical work exploring Carnival and performance art, Tancons is undertaking to reframe debates, especially vis-a-vis Eurocentric perspectives. In the rarified critical discourse on Carnival aesthetics, literary theorist Mikhail Bakhtin’s dominating notion of the carnivalesque has always referenced medieval and early Renaissance European Carnival. Transplanting Carnival to the Caribbean in the wake of the trans-Atlantic slave trade changes the context, she says. “What do we make of the celebration of the flesh in the context of the slave trade?” Tancons asks.”
The article goes on to give a detailed description of works included in EN MAS’, including those by Marlon Griffith, Hew Locke and Cauleen Smith.
To read the full article, visit Gambit’s website, here.