WE WERE HERE
The untold story of Black Africans in Renaissance Europe
Unveiling Black Presence in Renaissance Art | La Biennale Venezia 2024
PERSONAL STATEMENT
As a person of African descent born in Europe, I remember how white Italians often doubted my own awareness of being Italian and European.
Black African figures in Renaissance paintings have always been central. I was looking for that. I was interested in why Africans were obviously there, but they were never told by art historians today. Most art historians are white people.When European young students explore the subject of history, they often encounter a single chapter about Black History. Typically, this chapter centers on "The Slave Trade". So Black Europeans discover that this represents the entirety of their historical narrative. Our shared history plays a pivotal role in defining our identities. The aim of this documentary is to impart the knowledge that we indeed exist and have European ancestors. History defines who we are. There is much evidence and research, and paintings, monuments, religious iconography, Black saints, and foreign travelers’ accounts that tell us about the “Black presence” in Europe. Black life was omnipresent, yet the narrative that is selectively told remains problematic.
- Fred Kudjo Kuwornu
REMIXING
HISTORY
ARTIST PRACTICE
By consistently bridging past and present, visible and invisible, the seen and unseen, Kuwornu's practice emerges as a vital contribution to contemporary visual culture. His work not only recovers lost narratives but also proposes new frameworks for understanding the complex interplay between history, identity, race, and representation in our globalized world.Kuwornu's artistic methodology can be characterized as a form of visual archaeology, excavating and recontextualizing archival materials to create immersive experiences that challenge dominant historical paradigms. Through his curatorial approach of "temporal collage," he juxtaposes disparate historical moments to reveal continuities and ruptures in the construction of racial and national identities, often interrogating the lingering effects of colonialism and the role of collective memory in shaping contemporary society. Fred Kuwornu's work uniquely transforms academic representations and specific studies into accessible narratives that resonate beyond scholarly circles. By highlighting the contributions of often-overlooked scholars, he bridges the gap between academia and a diverse audience. Through his storytelling, Kuwornu amplifies voices that risk being confined only to academics . In works like "We Were Here: Africans in Renaissance Europe," presented at the Venice Biennale, Kuwornu employs multilayered imagery and nonlinear storytelling to unearth the hidden presence of Black figures in European art history.
Kuwornu's practice extends beyond mere documentation, venturing into the realm of social engagement. His works function as interventions in public discourse, illuminating the ongoing legacies of colonialism and systemic racism in contemporary society. By doing so, he positions his work at the intersection of artistic practice and social activism, creating a space for critical reflection and dialogue on issues of memory, identity, and postcolonial realities.Throughout his oeuvre, Kuwornu cultivates a visual language that oscillates between documentary style and poetic abstraction. This approach creates a tension between the factual and the imagined, inviting viewers to engage actively with the work and question their own assumptions about history, memory, and representation.Kuwornu's curatorial vision can be understood as a form of "historical remixing," in which he reconfigures archival materials, scholar's interviews and contemporary narratives to propose new modes of seeing and understanding. This process not only recovers suppressed histories but also challenges entrenched power structures and cultural assumptions, contributing to the ongoing project of decolonizing the gaze and reimagining historical narratives in a post-colonial context.
BIOGRAPHY
Fred Kudjo Kuwornu is a multi-hyphenate artist and scholar whose work is deeply influenced by his background as a person of African and Jewish descent. Born and raised in Italy and now based in New York, he is a citizen of three countries: Italy, the United States, and Ghana.
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In 2024, Adriano Pedrosa selected Fred Kudjo Kuwornu to exhibit at the Central Pavilion at the 60th International Art Exhibition of the Venice Biennale: "Foreigners Everywhere".
His roles as a filmmaker, producer, scholar, film curator, allow him to engage with diverse communities and initiate conversations about pressing societal issues. Over the past decade, more than 400 academic institutions worldwide have invited him to deliver lectures and screenings of his films, engaging audiences in thought-provoking discussions about history, diversity, and contemporary society.
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His artistic and scholarly practice revolves around exploring postcolonial, historical, and intersectional themes, including issues related to identity, the global African diaspora, and mobility.
Fred Kudjo Kuwornu received an MA in Political Science from the University of Bologna.
Fred Kudjo Kuwornu's works have been recognized and supported over the years through grants and awards from prestigious institutions, including the New York Foundation for the Arts, Africa No Filter (a Rockefeller Foundation program), Open Society Foundations, University of Minnesota, Cineteca di Bologna, and Premio Mutti.
In 2007, Kuwornu worked as a production assistant on Spike Lee's film "Miracle at St. Anna", which inspired him to pursue documentary filmmaking. He made his directorial debut in 2010 with the documentary "Inside Buffalo". Some of his notable works include:
"Inside Buffalo" - This documentary reconstructs and highlights the significant contributions of African-American soldiers to the Liberation of Europe during the Second World War. The film focuses on the 92nd Infantry Division, known as the "Buffalo Soldiers," who fought with outstanding heroism in Italy during WWII while also battling racial discrimination.
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"Blaxploitalian: 100 Years of Blackness in Italian Cinema" - This documentary examines the representation and experiences of Black actors in Italian cinema from 1915 to the present day. It uncovers the careers of a often overlooked population of entertainers and highlights the personal struggles faced by Afro-Italian and African diasporic actors in the industry.
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"18 Ius Soli" - This film explores the complex issue of citizenship for children born to immigrant parents in Italy. It sheds light on the challenges faced by second-generation immigrants who, despite being born and raised in Italy, are not automatically granted Italian citizenship due to the country's citizenship laws based on jus sanguinis (right of blood) rather than jus soli (right of soil).
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