Carnival... beyond the glitz of the parade

Portfolio of Practice Michael Forbes

www.michaelforbes.org.uk

Content: 1. About the Artist 2. Portfolio of Practice 3. Work Shop... Selling the Ontology of Whiteness Gold Christ for Gold People & Black Christ for Black People An El Dorado of 512.6 million 12 Stations of the Masquerade Minding the Black Body The Masquerade Auto Portrait - After Rembrandt Carnival... beyond the glitz of the parade 4. CV / rĂŠsumĂŠ

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

The Artist Michael Forbes (b.1962) lives and works in Nottingham and London. He is currently completing an in MA Sculpture at the Royal College of Art and has a BA (Hons) Photography from Nottingham Trent University. His practice spans sculpture, photography, animation, painting and installation.

His work has been exhibited internationally over the last 20 years, with recent exhibitions include Reformation at Guest Projects and the Diaspora Pavilion at the Venice Biennale 2017, presnted by The International Curators Forum (ICF), in partnership with the University of the Arts, London (UAL).

In 2011, Forbes undertook a 12 month residency at the International Studio and Curatorial Program in New York which led to several exhibitions – CPT:Time, History and Memory at the Gallatin Galleries, New York; Metropolitan Wonderland at the International Studio and Curatorial Program, New York and Next Generation: Contemporary American Photography at Pasinger Fabrik Amerika Haus, Munich.

Alongside his artistic practice work, he has an interest in curating, artist’s professional development and architecture.

After graduating, he became the Visual Arts Officer for East Midlands African Caribbean Arts (EMACA). He has curated many exhibitions including work at the Guest Projects, Bonington Gallery, Primary and Yard Gallery in Nottingham. He played a leading role in developing the New Art Exchange and its early programmes where he curated 8 major exhibitions.

He is currently Chair of the trustees Primary, Nottingham, where he holds a studio.

which has contributed to the increase of mass migration to

being asked “why the black body” in relation to sketches of

other parts of the world, particularly Europe. Unfortunately, the

proposed new work at the RCA. Using Mindview software to

In this Portfolio of Practice Forbes presents six bodies of

option to get to Europe has caused unprecedented numbers

draw out his thoughts relating to contemporary and historical

intersecting work, which communicate well together, but

of deaths crossing the Mediterranean over the last 30 years,

experiences of the black body, Forbes elegantly takes a

stand-alone as separate works.

which is reflected in the sculptural and animation work. Black

seemingly mundane piece of office software to create a thought

Contemporary racial politics, migration, blackness and

visibility, invisibility and the wider impact of religion also inform

provocating mind map. In the work Forbes acknowledges

whiteness are central to the work Forbes makes; in relation

how the work has developed.

historical facts, whilst recognising what is projected on the

Portfolio of Practice - Michael Forbes

black body from all sectors of society, which may reflect their

to universal debates on race, wealth, history and religion.

Sculpture, installations, photography, animation and digital

An El Dorado of 512.6 million is an animation, which further

media are the external manifestations of the interrelated

explores migration to Europe. The exploitation of African

experience, prejudices, insecurities and fears.

debates.

migrants by people traffickers has caused an unprecedented

Auto Portrait After Rembrandt, a black man in a wig and

number of deaths crossing the Mediterranean in inadequate

baseball cap is a series of self-portraits using wigs and

Shop... Selling the Ontology of Whiteness started out

boats and vessels. The migrants are lured to Europe by a

baseball caps purchased for The Masquerade sculptural

by default, as Forbes was researching and purchasing

fake notion of the streets being paved with gold; but the lucky

work. Whilst being playful in making the work, Forbes places

counterfeit handbags from African migrants on the streets of

ones that successful in make it to Europe are left to survive in

himself in the centre of the images, thereby making a direct link

Europe, for his masquerade sculptures.

the best way they can, which for some is selling counterfeit

between him and the work he makes. Over the years Forbes

Forbes started exploring the visual representation of handbags

designer goods on the streets of Europe.

has spent a lot of time looking at Rembrandts’ playful selfportraits, which he dresses for the occasion. The photographic

and their evolution as desired objects over recent years.

As, he started documenting shop windows on his travels

12 Stations of the Masquerade and The Masquerade are

work offers many readings of Forbes as the subject, but the

(including Venice, Rome, Naples and London) a number of

two separate bodies of work, which have been developed

work offers options of him as a symbol beyond the individual.

interesting ideas started to emerge from the images and the

since 2008. Both works draw on the conversations of history,

In the work he plays with a number of key issues, including the

research for his Royal College of Art MA dissertation (titled;

migration and the changing world order. In the Masquerade

gaze, adornment and sexuality.

The Metaphysics and Racial Politics of Blackness through the

work, Forbes harmoniously draws together found objects

work of Kerry James Marshall). The question that kept coming

such as colonial figurines, African artifacts and counterfeit

In Carnival... beyond the glitz of the parade Forbes

up for Forbes was; what is being sold through the shop

handbags; for the viewer to unpick and question their

documents

windows, beyond the merchandise? He concluded over time

meanings. Forbes specific interest in counterfeit designer

UK, whilst referring to the broader history of the cultural

the ontology of whiteness is being actively promoted through

handbags relates to a broader epoch, such as the increasing

celebration of carnival. The work has its origins within 16th

the shop windows and the use of the mannequins. To move

presence of China in Africa and China’s domination of world

century carnivals celebrating Lent in central Europe, African

the work forward in a meaningful way, Forbes developed

trade and manufacturing. China’s export of counterfeit designer

masquerades, the Slave Trade and plantation life.

abstract text layers for the work, which are used as an

goods sold by African migrants on the streets of Europe is a

Carnival… beyond the glitz of the parade draws on African

aesthetic tool in aligning the work to contemporary advertising

key feature of this work. The work also acknowledges human

traditions, as a celebration to their ancestors, through music,

and to create a genuine link to the shop windows and racial

desire for new shiny, ‘bling’ objects, which are often linked to

dance, adornment and sexuality. This photographic work

political discourse of today.

the nouveau riche, but it also plays with the notion of the ‘fake

acknowledges Carnival and its evolving cultural heritage with

it until you make it’ concept.

a particular focus on the ‘visual noise’, which accompanies the

Caribbean

carnivals

in

the

sound systems on the city streets and parks during carnival

Gold Christ for Gold People & Black Christ for Black People juggles with the ongoing issues of poverty and conflict in Africa,

contemporary

Forbes developed Minding the Black Body in response to

season.

Shop... Selling the Ontology of Whiteness Shop... Selling the Ontology of Whiteness started in 2011 with Forbes reseaching the ‘Old Masters’ for a pictorial view on the world history of trade and culture, which generated a conversation around its wider legacy and impact. By documenting paintings in museums such as The Sampling Officials by Rembrandt (1662) in Amsterdam, and others in Munich, Berlin, New York, and London, the work challenges notions of cultural past and questions the intersection of African and European history.

The work has evolved over a number of years, Shop... Selling of the Ontology of Whiteness now explores and challenges the visual cues of the fashion industry along-side other sectors of society, portrayed through predominantly Euro centric notions and representations of beauty.

Forbes uses text layers to explore the extremities of racial politics and discrimination in relation to white privilege. With abstract text, Forbes creates a form of push me pull me schematic, thereby the viewer is drawn in by the beauty of the photographic image of the shop window, but part repelled by the challenging text. The work allows the viewer to question their own positionality in relation to this critique of the fashion industry as a metaphor for the wider society. The layering is used as an aesthetic tool and more strikingly the text is a genuine link to racial political discourse of today.

Forbes has been developing and documenting high end shop windows for the last three years in a number of major cities, including Venice, Rome, Naples and London.

As, this is ‘Work In Progress’, Forbes intends to produce largescale photographs / lightboxes.

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Shop... Selling the Ontology of Whiteness 2016 - 2020 (work in progress) Photography / Lightbox image size 1.50m(h) x 1.13m(w)

Gold Christ for Gold People & Black Christ for Black People Gold Christ for Gold People & Black Christ for Black People forms part of a wider narrative for Forbes’ practice, with contemporary racial politics and migration being the crux of this work. The impact of poverty and historical teachings of religion also inform the conversation of how the work develops.

The ongoing issues of poverty and conflict in Africa have contributed to the increase of mass migration to other parts of the world, particularly Europe. Unfortunately, the option to get to Europe has caused unprecedented numbers of deaths crossing the Mediterranean over the last 30 years, which is reflected in the sculptural and animation work.

Black visibility and invisibility also inform the work - many black people discuss the psychological invisibility they experience within society and in the work place, and how it impacts on their lives and careers.

The black gloss painted Christ hanging over the black matt painted A frame plays with the ideas of black visibility and invisibility, the notion of being and not being, within the context of presence and absence: meaning, one can be present, but invisible. On the opposite side of the A frame the gold Christ, this presents a stark contrast to the black Christ, which offers up many narratives informed by Forbes’ research of churches around Europe, in particular Italy.

This work will be developed with a range of new and re purposed structures, such as crane armatures, latticed frames, and tripod winches.

Gold Christ for Gold People & Black Christ for Black People - Work in progress Sculptural installation, with black painted A frame, gloss black painted christ figure and gold painted christ figure. Christ figures: Jesmonite, wigs, gold watches, gloss paint, spray paint. A frame: OSB board, matt paint, Size 1.70m x 1.70m

Gold Christ for Gold People & Black Christ for Black People - Work in progress Jesmonite cast, black wood, gloss paint and gold spray paint

An El Dorado of 512.6 million Film still from animation 2019/20

Pink Christ - counterfeit Louis Vuitton handbag, watch, wig, rope and Jesmonite

Black Christ for Black People Christ figure, medical trolley, rope, wig, book, baseball cap and hooks 2019/20

Gold Christ for Gold People & Black Christ for Black People A2 Poster for the installation 0.80m x 0.60m see images below - Work in Progress

Untitled - a testing ground for work in Progress inthe studio 2019/20 Jesmonite cast, wig, watch, poster and plinths

Untitled - Work in Progress 2019/20 Jesmonite cast, wig, watch, poster and plinths

Untitled - Work in Progress 2019/20 Jesmonite cast, wig, watch, poster and plinths

12 Stations of the Masquerade and The Masquerade 12 Stations of the Masquerade and The Masquerade explores today’s crucial socio-political issues, with a particular focus on power, class, migration, national and international racial politics fed by the impact of history and religion. Forbes is intrigued by China’s exports of counterfeit designer goods, sold by African migrants on the streets of Europe for their financial survival.

The counterfeit designer handbags market relates to broader historical events, such as the increased presence of China in Africa, coupled with China’s domination of the World trade and manufacturing.

Issues of poverty and conflict in Africa have contributed to the increase of mass migration to other parts of the world, including Europe. Globally, nations are protecting their borders from new arrivals, by whatever mean necessary, including razor wire.

Unfortunately, the option to get to Europe has caused unprecedented numbers of deaths crossing the Mediterranean over the last 30 years – although Forbes work does not directly address the point above, they are part of the wider conversation.

In the work Forbes comments on processes of valuation, referring to the act of collecting undertaken by the artist through extensive travel around the UK and Europe to source objects staged in the work - the work demonstrates globalisation in relation to migration and trade.

12 Station of the Masquerade 2018 -2020 - Final presentation 14 plinths arranged in a circle with one plinth/sculpture in the centre - Mixed media 0.70m x 0.7m x 2.00m (h)

continued on page 30

12 Station of the Masquerade 2018 - 2020 - Final presentation 14 plinths arranged in a circle with one plinth/sculpture in the centre - Mixed media 0.70m x 0.7m x 2.00m (h)

12 Station of the Masquerade 2018 - 2020 - Final presentation 14 plinths arranged in a circle with one plinth/sculpture in the centre - Mixed media 0.70m x 0.7m x 2m (h)

12 Station of the Masquerade 2018 - 2020 - Final presentation 14 plinths arranged in a circle with one plinth/sculpture in the centre - Mixed media 0.70m x 0.70m x 2.00m (h)

Gold Christ for Gold People & Black Christ for Black People A2 Poster for the installation 0.80m x 0.60m see images above - Work in Progress

Minding the Black Body 2019/20 Mind map lightbox / photographic print 1.70m x 1.70m

Minding the Black Body Minding the Black Body is a response to my tutors question in the first year of the MA at RCA – “why the black body” in relation to my proposed work. Using the Mindview software to draw out my thoughts, relating to contemporary and historical experiences of the black body, whilst acknowledging what is projected on the black body from all sectors of society; reflecting their experience, prejudices, insecurities and fears.

Minding the Black Body detail 2019/20 Mind map lightbox / photographic print 1.70m x 1.70m

Auto Portrait - After Rembrandt Black man in a wig and baseball cap For this new work Forbes has developed a series of self portraits using material purchased for The Masquerade sculptural work – he places himself in the centre of the images, thereby making a direct link between him and the work he makes.

Forbes acknowledges his work is a physical manifestation of his cultural experience and history but he understands the photographic image can and will be a representation of something beyond himself. The image of a Black male symbolises many things beyond the individual, which he explores through the following areas: the gaze, wigs, baseball caps, sexuality and adornment.

Forbes has constructed the image to challenge the viewer by consciously presenting a non-smiling and non-gesturing face, thereby allowing for many readings of the images, which could include challenging, sad, fearful and unfriendly and questions of sexuality.

Although all of the above could be true, he challenges the viewer to move beyond the surface of the images - this work can stand-alone or presented alongside the 12 Station of the Masquerade work.

This work is also informed by Forbes’s recent research for his dissertation, titled The Metaphysics and Racial Politics of Blackness through the work of Kerry James Marshall, which explores the wider understanding of Blackness which is not exclusively based on race.

The dissertation covers: • Metaphysics and Ontology of Blackness • Black normality and existence • Chromatic variations of Black in Marshall’s work linked to the ontology of Blackness • Racism / violence – Black Lives Matter • The Museum - exclusion of Black artists

Auto Portrait After Rembrandt a black man in a wig and baseball cap 2018/20 Photograph mounted on MDF 0.80m x 1.20m

Auto Portrait After Rembrandt a black man in a wig and baseball cap 2018/20 Photograph mounted on MDF 0.80m x 1.20m

Auto Portrait After Rembrandt a black man in a wig and baseball cap Photograph mounted on MDF 0.80m x 1.20m

Auto Portrait After Rembrandt a black man in a wig and baseball cap Photograph mounted on MDF 0.80m x 1.20m

continued from page 19

Forbes is interested in the narratives that arise through the act of bringing the geographical, social and economic link of the sourced objects together.

As, a traveler Forbes has noticed the importance and impact of religion has had on a range of citizens globally and how religion has been used to manipulate people into subjugation and exploitation historically, which has an impact today.

He is also resistant to an overly didactic approach to the work, focusing to a large degree on the narrative, aesthetic qualities and materiality of the work.

The Masquerade 2017/18 - Wolverhampton Art Gallery 2018 Mixed media - size: 0.45m(w) x 0.45m(d) x 2.00m(h)

The Masquerade 2017/18 - Wolverhampton Art Gallery 2018 Mixed media - size varies average: 1.00m(w) x 0.20m(d) x 0.5m(h)

The Masquerade 2017/18 The Masquerade 2017/18 Mixed media - size varies average: 0.60m(w) x 0.70m(d) x 2.00m(h)

Installation at Guest Projects, London Mixed media - size varies average: 0.60m(w) x 0.70m(d) x 2.00m(h)

The Masquerade 2017/18 Installation at Guest Projects, London

The Masquerade 2017/18

Mixed media - size varies average: 0.60m(w) x 0.70m(d) x 2.00m(h)

Mixed media - size varies average: 0.60m(w) x 0.70m(d) x 2.00m(h)

Carnival... beyond the glitz of the parade This series of photographs celebrate the art form, the cultural celebration of Carnival and the social element of how people come together for enjoyment whilst contributing to their everchanging cultural heritage.

The photographs are two-dimensional marker of the social presence and value of Carnival in the UK, which has a strong historical legacy. With the presence of social media, the images mark a turning point in the representation of Black people in the 21st Century; YouTube, Instagram and Facebook, are offering similar perception, thereby differing from one of surveillance to one of ephemeral fame.

Forbes presents these photographs as a response to the lack of representation of Black people which has a two-pronged effect; the wider society believes the limits in representation are a true reflection of Black people and the people believe these limits are true, thereby creating their own glass ceiling to their existence and achievements.

The work also refers to the broader cultural and social history of Carnival and its relation to Lent, Catholic Church, slavery and African masquerade. This work draws on ancestral African traditions with a particular focus on music, dance, adornment and sexuality. The work also plays an important part in celebrating Black presence and migration from the Caribbean and the African continent to Europe and United Kingdom.

Carnival... beyond the glitz of the parade 2009 - 2019 Photography, mounted on MDF 120cm(w) x 80cm(h)

Carnival... beyond the glitz of the parade 2009 - 2019 Photography, mounted on MDF 120cm(w) x 80cm(h)

Carnival... beyond the glitz of the parade 2009 - 2019 Photography, mounted on MDF 1.20m(w) x 0.80m(h)

Carnival... beyond the glitz of the parade 2009 - 2019 Photography, mounted on MDF 1.20m(w) x 0.80m(h)

CV / résumé Education 2018 - 2020 Royal College of Art MA Sculpture 1995 - 1998 Nottingham Trent University, BA (Hons) Photography 1994 - 1995 West Notts College, BTEC Foundation Art & Design Exhibitions (Selected) 2020 Royal College of Art Degree Show 2018 Reformation – Yinka Shonibare’s Guest Project. Group show - Nadim Chaudry, Michael Forbes, Barbara Walker 2018 Diaspora Pavilion - Wolverhampton Art Gallery 2017 Diaspora Pavilion - Palazzo Santa Marina, Venice. International Curators Forum, University Arts London see link for further details 2016 Nottingham Castle Open – winner of the Nottingham Castle purchase prize, for their photography collection 2016 Untitled, Harley Gallery, Welbeck Estate, Nottinghamshire 2015 Acquistion, Quad, Derby 2014 Since 1843: In the Making, Nottingham Trent University, Nottingham 2012 Next Generation: Contemporary American Photography, Pasinger Fabrik Amerika Haus, Munich 2012 CPT:Time, History and Memory, Gallatin Galleries, New York 2011 Metropolitan Wonderland, ISCP, New York 2011 Souls Of The Diaspora, ISCP, New York 2008 Next We Change Earth, The New Art Exchange, Nottingham 2007 The Redemptive Beauty Of Life After Death, The Bonington Gallery, Nottingham 2006 When Men And Mountain Meet, Gallery

One, Zagreb 2006 Mostyn 2006 Open Exhibition, Oriel Mostyn 2003 Celebration Of Death, Photo Club Zagreb, Zagreb 2003 Shot In JA, Picture House Centre for Photography, Leicester 2003 Celebration Of Death, Cankarjev Dom, Ljubljana 2001 International Print Competition, The Royal Photographic Society, Bath 1997 Recontres Internationales De La Photographie, Residency/Commissions 2016 - 2018 The International Curators Forum (ICF), in partnership with University of the Arts London (UAL) Mentor: Director of International Curators Forum, David A Bailey 2011 International Studio & Curators programme, New York.

2002 Liquid Light, Jamaica 2002 Pavilion, Leeds Awards 2018 / 19 / 20 Rose Finn-Kelcey Scholarship 2018 Nominated for the Paul Hamlyn Artist Awards 2017 Winner of Black Achievers Award for Arts, Media and Culture 2015 Artist Benevolent Fund 2015 European Regional Development Fund 2017/2018 Arts Council England GFA 2010/2011 Arts Council England GFA 2005/2006 Arts Council England GFA 2002 Nominated for the CitiBank Photography

Curatorial Projects 2018 Reformation: Guest Project. Group show - Nadim Chaudry, Michael Forbes, Barbara Walker 2012 Untitled: Nadim Chaudry, Marek Tobolewski, Yelena Popova, Primary, Nottingham 2010 Because I Can: Group Show Mik Godley, Nadim Chaudry Paul Gant, Sarah R Keys - ‘Pop Up’ space Nottingham 2010 Inconsistency Of Everything: Harminder Singh Judge, New Art Exchange, Nottingham 2009 Strength Of Feeling: Sokari Douglas Camp: New Art Exchange, Nottingham 2008 Next We Change Earth: The New Art Exchange, Nottingham 2008 Once Upon A Time In The West There Was Lace: Godfried Donkor, Yard Gallery, Media Interviews Front Row with John Wilson - discussing Diaspora Pavilion I Venice to Wolverhampton at Wolverhampton Art Gallery, Feburary 2018 Work History 2013 - 2020 Artist Curator Design - Forbes Projects 1999 - 2001 Visual Arts Officer, EMACA (East Midlands African Caribbean Arts), Nottingham 2003 - 2018 Voluntary work – Primary, Chair of Trustees and Directors of Nottingham Studios, Nottingham see link www.weareprimary.org

Portfolio of Practice / Exhibition Proposal Logistics

The proposal offers a well-balanced selection of approximately 65 - 70 works including sculpture, installation and photography.

The portfolio of Practice / exhibition proposal is adjustable in size to the space available.

Number of works available include 12 Station of the Masquerade (7 of 14 plinths are complete - one installation) The Masquerade, 14 works available Auto Portrait - After Rembrandt, 15 works available Shop Selling the Ontology of Whiteness, 20 - 30 works available Carnival... beyond the glitz of the parade, 20 - 30 works available Production costs Gold Christ for Gold People and Black Christ for Black People - Work in progress 12 Station of the Masquerade - £8,000 to complete this work The Masquerade - 16 works are complete, exhibition preparation costs £400 Auto Portrait - After Rembrandt - printing and mounting £200 - £300 each Shop Selling the Ontology of Whiteness - (Subject to lightbox costs) £2000 - 3000 each Carnival... beyond the glitz of the parade - printing and mounting £400 each Sale & insurance value (subject to commission fees) The Masquerade & 12 Stations of the Masquerade - £ tbc each Auto Portrait - After Rembrandt - £ tbc each Shop Selling the Ontology of Whiteness £ tbc (subject to production costs) Carnival... beyond the glitz of the parade - £ tbc each Transport costs £ tbc for art handling (figure to be confirmed with the art couriers in due course).

Artist fee £ tbc

Contact Michael Forbes Email: michael@michaelforbes.org.uk

Artist portrait page 3: Copyright International Curators Forum 2017 All Artwork Images: Copyright Michael Forbes - all rights reserved