During my residency at AIR351, I would like to familiarize myself with the Portuguese art scene, on visual contemporary artists who are dedicating their works to post-colonial issues.
I have been working extensively on the African continent since 2002, related to Francophone as much as British colonies. I am interested in knowing more about the consequences of the Portuguese colonies in Africa but also in Portugal. I felt this residency is giving me the possibility of deepening my research on how aritsts are dealing with this recent past. This project intents to bring artists and communities of citizens that can address traces, memories at the occasion of my residency in Air351. I would like to organize a free open workshop, with local citizens as Cascais and Estoril are residential places where many people took part in colonial period and might have things to share about it.
Cécile Bourne-Farrell worked for seven years at the Musée d’Art Moderne Ville de Paris (ARC) and has since curated cultural projects for both public and private institutions. Cécile Bourne-Farrell is well known for working outside the ‘white cube’ with keen interest on post-colonial issues, not only from the perspective of the colonized, but also from the colonizer mind.
Active Aica and C-E-A member, she writes regularly for different media and publications.
She served the committee of the NMAC Foundation/Montenmedio, Spain (2002-2006) and since 2006 is part of the curatorial delegation of L’appartement22, Rabat, Morocco. She works with Mari Linnman (www.newpatrons.eu) for the methodical implementation of new public projects in the suburbs of Paris and was the Spanish mediator for Foundation de France from 2002 to 2008.
In 2016 in London, she was invited to initiate a residency program with the War Studies department of King’s College University with Professor Viviane Jabri, a collaboration witch took the multiple-form of exhibition and choreographic project called « Traces of War ».
She was the invited-curator of SUD2017 triennial, doual’Art, Douala, Cameroon, her first project on the continent was called RondPoint an exchange project between the Fine arts Schools of Kinshasa and Nantes in 2002.
“My curatorial approach involves paying adequate attention to the context where I am invited to work. This dialogue is particularly clear to me, as, since my childhood, I have migrated through various boundaries. This constant motion is certainly not trivial, but acts as driving force. It is these cultural and social changes that cause confrontations and produce various forms of cultural diversity, which enriches me and proposes inedited paradigms that can be put into place in infinite forms.” CBF