{"id":3624,"date":"2015-05-20T04:25:00","date_gmt":"2015-05-20T04:25:00","guid":{"rendered":"http:\/\/www.randian.art\/?p=3624"},"modified":"2022-12-07T04:27:15","modified_gmt":"2022-12-07T04:27:15","slug":"yinka-shonibare-interview","status":"publish","type":"post","link":"http:\/\/www.randian.art\/zh-hant\/yinka-shonibare-interview\/","title":{"rendered":"Yinka Shonibare interview"},"content":{"rendered":"\n

by Iona Whittaker \u7231\u5b89\u963f<\/p>\n\n\n\n

\u201cThe World Has Became More Difficult to Represent\u201d<\/p>\n\n\n\n

With his\u00a0current exhibition<\/a>\u00a0at James Cohan in New York, the British-Nigerian artist and self-described \u201cpost-colonial hybrid\u201d Yinka Shonibare MBE departs from themes of cultural identity which have characterized his work to date. He has employed materials as wide-ranging as painting (for which he originally trained), film, photography and performance, but is best known for figurative sculptures clothed in equally expressive printed fabrics. Shonibare, who was a Turner Prize nominee in 2004, and was awarded an MBE the same year, has risen to prominence with significant works including \u201cHow to Blow up Two Heads at Once\u201d (2006)\u2014a figurative sculpture which was part of the African Pavilion for the 52nd<\/sup>\u00a0Venice Biennale in 2007 and \u201cGallantry and Criminal Conversation\u201d\u2014a large-sale installation featuring a suspended carriage and multiple figures for documenta 10 in 2002.<\/p>\n\n\n\n

Iona Whittaker:\u00a0<\/strong>Do you typically start out with a framework for a show to help you form the works, or is this a project you had had in mind for some time and were waiting for the right moment to execute?<\/p>\n\n\n\n

Yinka Shonibare:<\/strong> It varies a lot\u2014I don\u2019t have a fixed way of doing it. Sometimes I get inspiration from the context. This show is happening in New York. I\u2019m interested in issues around climate change and at that very location there was a flood in the galleries; there\u2019s also rising sea levels, and so I took that as a starting point.<\/p>\n\n\n\n

IW: <\/strong>Were any of your works stored there at the time?<\/p>\n\n\n\n

YS: <\/strong>Luckily they had taken a lot of work out of the gallery; they were not as affected as the other galleries. They managed to remove a lot of valuable works from the premises.<\/p>\n\n\n\n

IW: <\/strong>Can you tell me about the show itself in your own words, and how it will look in the gallery?<\/p>\n\n\n\n

YS:\u00a0<\/strong>It\u2019s quite odd in a sense that you encounter quite gorgeous-looking ballerinas. There\u2019s a degree of deception and metaphor because when you see ballerinas you wouldn\u2019t necessarily be thinking about menacing gods. You might just think that they are beautiful ballerinas. But there is a tradition of artists drawing on images of ballerinas; of course Degas is a very well-known artist who did that. But of course, these ballerinas are Greek gods, and they have weapons as well. They have some things you might associate with gods like the lightning; then a few of them also have guns behind their backs; it\u2019s something menacing. And I want deliberately to change their genders; Greek gods are male gods, and the ballerinas in the exhibition are female. Another side to the exhibition is the escape side; once we\u2019ve destroyed the earth then there is the need to find other places to go to. So there\u2019s an astronaut.<\/p>\n\n\n\n

\"\"
Yinka Shonibare, \u201cRefugee Astronaut\u201d, fibreglass mannequin, Dutch wax printed cotton\ntextile, net, possessions, astronaut helmet, moon, boots and steel baseplate, 208 x 93 x 90 cm, 2015.<\/figcaption><\/figure>\n\n\n\n

IW: <\/strong>I wanted to ask you about that anomalous figure.<\/p>\n\n\n\n

YS:<\/strong> Yes, I\u2019m calling him a \u201crefugee astronaut\u201d so he has got all of his worldly possessions on his back and is seeking new oases. And there are two butterfly kids and that I guess is about metamorphosis and transformation; you might interpret that in different ways. They\u2019re going to transform themselves and fly away, or . . . I wanted this show to have a kind of poetic feel\u2014a light feel as well as a dark underbelly so that on one hand you have comfort, and then you realize that these figures are not so pretty after all. The whole thing is quite menacing.<\/p>\n\n\n\n

IW:<\/strong> It seems to be a fight and then a flight\u2014both are inevitable and follow on from one another. I think what\u2019s menacing about it is perhaps this inevitability.  There are beautiful and apocalyptic figures and an astronaut. It seems to say \u201cHere are the portents and here is the displaced.\u201d It\u2019s like a narrative, in a way.<\/p>\n\n\n\n

YS:  <\/strong>Yes. [He considers for a moment<\/em>] The point really is not to make something that literal, but also to\u2014I\u2019ve become increasingly interested in the power of the imagination in my art and the poetry, as opposed to a literal illustration of politics.<\/p>\n\n\n\n

IW:\u00a0<\/strong>Right, or direct references.<\/p>\n\n\n\n

\"\"
Yinka Shonibare, \u201cRage of the Ballet Gods\u201d, exhibition view at James Cohan.<\/figcaption><\/figure>\n\n\n\n

YS: <\/strong>As you know, the world is becoming more violent, more nasty, with all these weather issues and war and so on. It\u2019s actually becoming more difficult to represent, I think. And then there is the competition for resources. And climate change doesn\u2019t necessarily help that process along. We will be short of water also, and those are difficult issues to deal with.<\/p>\n\n\n\n

IW:<\/strong> Do you view your work with any sense of responsibility? I don\u2019t mean in terms of materials, I mean in terms of messages to people.<\/p>\n\n\n\n

YS: <\/strong>Not necessarily, because I don\u2019t really want to be moral\u2014I don\u2019t want it to be a kind of moral crusade. Art is a place, in a way, to escape to. And aspects of life are of course reflected in art. The point about art is that it does not replicate life directly.<\/p>\n\n\n\n

IW:<\/strong> It\u2019s a response, whatever form it may take.<\/p>\n\n\n\n

YS:<\/strong> Yes, of course, and I don\u2019t ever negate the benefits of entertainment, either. For me that\u2019s not a bad thing at all.<\/p>\n\n\n\n

IW:<\/strong> So if we look at this show and the theme of environmentalism, you\u2019re not putting it up there as a message. It\u2019s something more immediate as a response to what\u2019s going on. It\u2019s not something that\u2019s trying to project concern. I\u2019m hearing something more instantaneous\u2014a creative response to what simply \u201cis\u201d.<\/p>\n\n\n\n

YS: <\/strong>Yes, I guess it\u2019s a visual equivalent of a poem.<\/p>\n\n\n\n

IW:<\/strong> You work is highly conceptual in a lot of ways, but as you have mentioned and as is clear, it\u2019s also incredibly visual\u2014it\u2019s theatrical, striking and memorable. I wondered how you go about distilling your ideas into these visual forms; how do you go about it and how do you approach the balance between the idea and almost the distraction of the beautiful materials you use.<\/p>\n\n\n\n

YS: <\/strong>It can be incredibly difficult sometimes to actually come up with things; you have to constantly edit yourself and you often don\u2019t end up with the ideas that you started with. The problem with it really is mainly that we are in the 21st Century, so the world is full of clich\u00e9s and everything has been done before. That is very difficult\u2014how do you understand what\u2019s been done before, avoid clich\u00e9s and produce complex works? I like to use fabric. I don\u2019t want to promote any kind of ideology in my work\u2014either the left or the right\u2014and that usually is the starting point for me not to be anybody\u2019s messenger. Within that, I try to so something that is complex but that is also rich enough to be understood from different angles.<\/p>\n\n\n\n

IW: <\/strong>So you have the immediately visual, and then many more layers you wish to incorporate.<\/p>\n\n\n\n

YS: <\/strong>Yes, absolutely, because it\u2019s important that it\u2019s not reduced to a form of journalism. After all, I trained as a painter, so I am very interested in form and aesthetics; I\u2019m also very interested in ideas, concepts. The point is to marry those two things. Of course there are other issues, for example why I started using the fabrics and how those relate to my background. They have become a kind of signature\u2014a language\u2014my own kind of Esperanto, if you like.<\/p>\n\n\n\n

IW:<\/strong> Earlier in your practice you were focused on language deriving from themes; it has proved an adaptable language, for example to these most recent works. Can you talk to us about its role in your current work?<\/p>\n\n\n\n

YS:<\/strong> Yes, I mean, it\u2019s about trying to marry the historical and contemporary.<\/p>\n\n\n\n

IW: <\/strong>It seems the case now that you marry a kind of ancient mythology with very contemporary issues; it does create a sort of narrative. But I wondered why you find this link particularly potent?<\/p>\n\n\n\n

YS:<\/strong> Myth was there to explain things that we couldn\u2019t explain before science\u2014after all, Greek mythology is pre-Enlightenment, so science has explained a lot of things to us. But I feel value in folklore, I think, because folklore is tradition. I don\u2019t think folklore can be disregarded or dismissed offhand. I think it\u2019s a vital part of human culture. To return to folklore is important for the present; I think we have lost something in the over-emphasizing of the enlightened and the scientific.<\/p>\n\n\n\n

IW: <\/strong>The rational.<\/p>\n\n\n\n

YS: <\/strong>Yes, and I think that as result we lost a sense of community.<\/p>\n\n\n\n

IW:<\/strong> I would add that we tend to approach things in a news-like manner; we are subject to a constant barrage of news; perhaps our impression of the bigger picture or wider nuances is being distracted from or run over, as it were. It is something to do with how stories which can travel might be getting lost.<\/p>\n\n\n\n

YS: <\/strong>Yes. I remember when I was young, growing up in Nigeria, I did experience older people telling us stories, and I used to listen very attentively to those stories; a lot of them are about the \u2018mischievous\u2019 ones. I used to enjoy those kinds of stories very much. I\u2019m 52 years old\u2014even Nigeria is very westernized now anyway, and it would be sitting in front of the TV, just watching soaps and things. Whereas I listened to grandparents telling me stories, and they are very memorable. I don\u2019t even know if that contributed to some of my interests later on in life\u2014<\/p>\n\n\n\n

IW:<\/strong> Your sculptural figures are not unlike storytellers\u2014figures from which one might learn things.<\/p>\n\n\n\n

YS:<\/strong> Yes, and in a funny kind of way, at this stage of my life I\u2019m turning to folklore, fairytales and the imagination\u2014those kinds of things. Whereas earlier in my career I think my work was very much embedded in post-modern theory and a lot of that kind of discourse around contemporary art. But I think I\u2019m actually feeling a lot freer to explore other kinds of narratives now.<\/p>\n\n\n\n

IW:<\/strong> Does it affect your feelings and response to your works when you see them displayed in the gallery, as opposed to in your studio?<\/p>\n\n\n\n

YS: <\/strong>I think by the time an exhibition is up, the artist is in a different zone. You\u2019ve moved on. In a way, for an artist, every exhibition is in past tense.  You\u2019ve got new thoughts.<\/p>\n\n\n\n

IW: <\/strong>And what are you loyal to, always?<\/p>\n\n\n\n

YS:<\/strong>\u00a0I think it\u2019s always avoiding one-liners.\u00a0 I want the works, in themselves, to always retain a degree of complexity and to argue within themselves.<\/p>\n\n\n\n

\"\"
Yinka Shonibare, \u201cBallet God (Apollo)\u201d, fibreglass mannequin, Dutch wax printed cotton
textile, lyre, sword, globe, pointe shoes and steel baseplate, 193 x 86 x 85 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
Yinka Shonibare, \u201cMedusa North\u201d, digital chromogenic print, diameter, framed, 113.98 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
Yinka Shonibare, \u201cBallet God (Zeus)\u201d, fibreglass mannequin, Dutch wax printed cotton
textile, lightning, gun, globe, pointe shoes and steel baseplate, 236 x 155 x 140 cm, 2015.<\/figcaption><\/figure>\n\n\n\n
\"\"
Yinka Shonibare, \u201cRage of the Ballet Gods\u201d, exhibition view at James Cohan.<\/figcaption><\/figure>\n\n\n\n



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by Iona Whittaker \u7231\u5b89\u963f \u201cThe World Has Bec … Continue reading →<\/span><\/a><\/p>\n","protected":false},"author":2,"featured_media":3628,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[17],"tags":[67,232,35,1457,29,239,1458,210,211,230,231,229],"yoast_head":"\nYinka Shonibare interview - \u71c3\u70b9 Ran Dian<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\" \/>\n<meta property=\"og:locale\" content=\"zh_TW\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Yinka Shonibare interview - \u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"og:description\" content=\"by Iona Whittaker \u7231\u5b89\u963f \u201cThe World Has Bec … Continue reading →\" \/>\n<meta property=\"og:url\" content=\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\" \/>\n<meta property=\"og:site_name\" content=\"\u71c3\u70b9 Ran Dian\" \/>\n<meta property=\"article:published_time\" content=\"2015-05-20T04:25:00+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-12-07T04:27:15+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/randian-art.s3.ap-east-1.amazonaws.com\/2022\/12\/SHONIBARE_Rage-of-the-Ballet-Gods_2015_10_large.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2100\" \/>\n\t<meta property=\"og:image:height\" content=\"1444\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Christopher Moore\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Christopher Moore\" \/>\n\t<meta name=\"twitter:label2\" content=\"\u9810\u4f30\u95b1\u8b80\u6642\u9593\" \/>\n\t<meta name=\"twitter:data2\" content=\"10 \u5206\u9418\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"http:\/\/www.randian.art\/yinka-shonibare-interview\/#article\",\"isPartOf\":{\"@id\":\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\"},\"author\":{\"name\":\"Christopher Moore\",\"@id\":\"http:\/\/www.randian.art\/#\/schema\/person\/21b1847a0437023bf9ee1aec41477222\"},\"headline\":\"Yinka Shonibare interview\",\"datePublished\":\"2015-05-20T04:25:00+00:00\",\"dateModified\":\"2022-12-07T04:27:15+00:00\",\"mainEntityOfPage\":{\"@id\":\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\"},\"wordCount\":1946,\"commentCount\":0,\"publisher\":{\"@id\":\"http:\/\/www.randian.art\/#organization\"},\"keywords\":[\"artist\",\"artist interview\",\"interview\",\"James Cohan\",\"Ran Dian\",\"Ran Dian magazine\",\"Yinka Shonibare\",\"\u71c3\u70b9\",\"\u71c3\u70b9 \u6742\u5fd7\",\"\u827a\u672f\u5bb6\",\"\u827a\u672f\u5bb6\u8bbf\u8c08\",\"\u9762\u8bd5\"],\"articleSection\":[\"Features\"],\"inLanguage\":\"zh-TW\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"http:\/\/www.randian.art\/yinka-shonibare-interview\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\",\"url\":\"http:\/\/www.randian.art\/yinka-shonibare-interview\/\",\"name\":\"Yinka Shonibare interview - 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