Yinka Shonibare MBE and Narrativity

April 22, 2012

 

During my research on Yinka Shonibare MBE I noticed that nearly all catalog texts or articles in art magazines rewrite always the same topics: How Shonibare works with the Dutch wax, about colonialism, negritude etc. An exception marks Rachel Kent in her clear analysis of Shonibare and narrativity:

„Further themes of inversions and doubling figure strongly as illustrated by the cyclical, looped format of Shonibare‘s films. King Gustav III, for example, gets up to dance one more after beeing assassinsnted. Shonibare has expressed his interest in film and narrative structures in a detailed interview wthin this publication, noting; ,I did not want to make a film with a beginning, middle and end; instead I wanted to explore the reflexivity of the film and and how it reflects back on itself‘. Speaking of Un ballo in Maschera, he could equally have been referring  to Odile and Odette with its literal mirroring of form and content.“
(Kent, Rachel: „Time and Transformation in the Art of Yinka Shonibare MBE.“ In: Yinka Shonibare MBE (Ausstellungskatalog Sidney). Prestel: Berlin u.a. 2008, 12-23, 20.)

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