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US envoy lights up Stockholm park with ‘green’ public art project

For the next several weeks, art and nature lovers who walk by the Stockholm residence of the US ambassador will be treated to a unique art installation designed to spark new thoughts on sustainability, explains contributor Anita Badejo.

US envoy lights up Stockholm park with 'green' public art project

While the recent blast of heavy February snow left many Swedes shaking their fists at the resurgent winter weather, the new blanket of fluffy white powder brings a smile to the face of US ambassador Matthew Barzun and his wife, Brooke.

As it turns out, the fresh snow makes for a perfect canvas on which to view a newly installed public art project designed to celebrate the Swedish winter in “A Different Kind of Light”.

Consisting of a specially-created video art instillation by Brooklyn-based artist Chris Doyle entitled “The Underglow”, the project is meant to show that the darkness of the Swedish winter can be a thing of beauty.

The installation, which features a 3D animation of mushrooms presented in three parts, each one representing a type of light, is a gift to the people of Stockholm from the Barzuns.

It will be projected from the US ambassador’s residence on Nobelgatan onto the park below every morning and every evening until March 25th.

Ambassador Barzun was inspired to move ahead with the public art project as a way to heed the call of US president Barack Obama to increase and diversify US engagement in the world.

“I think engaging the next generation is so important,” Barzun tells The Local, before turning his thoughts to the recent youth-led revolution in Egypt.

“Look at Egypt today: 60 percent of people in Egypt are under the age of 30. So, they don’t remember America’s role in World War II. They have more recent memories and we need to engage with them and help them understand what we’re about as a country.”

Doyle chose to focus his work on mushrooms after visiting Sweden for the first time last September.

The recent removal of a diseased 150-year-old tree that was beloved by the ambassador and his family led Doyle to reflect on the fungi which sprout from death and decay. During subsequent dinner conversation he learned of Swedes’ love for mushrooms, allowing him to make connect his reflections to Sweden.

“In a way, this piece is more about my experience of this place,” Doyle says.

“So, whether or not it’s successful on the level that people recognize it and think, ‘That’s so Swedish’, for me, it represents my experience of Sweden.”

The first part of Doyle’s work depicts bright green bioluminescent mushrooms, which are thought to have been used by Swedes in medieval times to guide them through the long winter.

The second depicts red mushrooms that resemble glowing fire embers, and the third depicts poisonous amanita mushrooms, whose white dots become stars in the video.

“I sort of thought of the embers, the stars, and the bioluminescence as three ways of lighting up the winter,” Doyle explains.

Doyle also said he hopes that viewers who stumble upon the work will experience an unexpected “shiver of magic” in their day.

The focus of Doyle’s work on subjects that are able to create energy from the earth (as mushrooms don’t grow through photosynthesis) also serves as a step by connecting to President Obama’s goal of “trying to save the climate, create new jobs and clean energy,” the ambassador said.

The Barzuns have also made some strides themselves in implementing climate-friendly measures, recently converting the heating in the ambassador’s residence from gas to geothermal.

In addition, the electricity used to project “The Underglow” from the residence is 95 percent hydro-powered and 5 percent wind-powered, the ambassador explains.

In unveiling the public art project, Barzun describes his recent realization of the “power of art to start new conversations and to start new ways of thinking.”

“That’s what President Obama has charged us and all of us as American diplomats [to do] – to engage with the world, to start new conversations to tackle the challenges we confront,” says Barzun.

He hopes that Stockholm residents would ultimately take two things away from viewing “The Underglow”:

“One, I hope that they will appreciate it as a gesture of thanks to the people of Stockholm and of Sweden, who have been so welcoming to Americans for 200-plus years of our official relationship,” he says.

Secondly, the ambassador wants the presentation of Doyle’s work to mark the “beginning of new conversations” about the ways in which Sweden and America “can have a more sustainable future together.”

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old told AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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