
13 minute read
Helina Metaferia, Art has the power to transform society
L'art et son pouvoir de transformer la société
INTERVIEW WITH / AVEC MATHILDE LEPERT
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HELINA METAFERIA EST UNE ARTISTE INTERDISCIPLINAIRE NĂE Ă WASHINGTON DC. ELLE ALLIE DANS SON TRAVAIL DIFFĂRENTES TECHNIQUES COMME LE COLLAGE, LA PEINTURE, LA SCULPTURE, LA VIDĂO, LA PERFORMANCE, AINSI QUE LA RECHERCHE UNIVERSITAIRE ET LâORGANISATION DE PLATEFORMES DâĂCHANGES PARTICIPATIVES. ELLE NOUS PARLE DE SA MISSION DâINITIER UN DIALOGUE AVEC LE PUBLIC Ă TRAVERS LâART.
- Votre art est politique, vous abordez des sujets liĂ©s Ă la « race », Ă lâidentitĂ©, au genre, Ă la migration. Pensez-vous que lâart soit une arme puissante pour gĂ©nĂ©rer des changements politiques et sociaux ?
Je crois au pouvoir transformatif de lâart, sinon je ne mây investirais pas autant. Le rĂŽle de lâartiste producteur de culture est dâĂȘtre une capsule du temps prĂ©sent, tout en imaginant les possibilitĂ©s futures. Lorsque nous mettons en perspective nos expĂ©riences personnelles avec lâĂ©tat du monde actuel et de la sociĂ©tĂ©, notre discours individuel entre automatiquement dans le domaine du public et fait allusion au politique. Ce processus est puissant, car il offre aux individus de multiples opportunitĂ©s dâentrer en conversation, plus encore que les livres, les articles ou autres mĂ©thodes dâanalyse. Tout art a ce potentiel, les objets dâart (peinture, collage, sculpture) comme les expĂ©riences artistiques (performance, pratique sociale, art du temps).
- Votre pÚre était professeur en sciences politiques et votre mÚre Présidente du Center for the Rights of Ethiopian Women (CREW). Pouvezvous nous parler de votre enfance dans cet environnement trÚs actif sur le plan politique ?
On peut dire que jâai grandi dans un foyer « woke 1 », terme utilisĂ© de nos jours pour dĂ©crire ce type dâenvironnement. Mes deux parents Ă©taient des expatriĂ©s Ă©thiopiens politiquement actifs, et nous vivions dans la rĂ©gion mĂ©tropolitaine trĂšs politisĂ©e de Washington DC. Mon pĂšre professeur a Ă©crit plusieurs livres sur la politique Ă©thiopienne et intervenait rĂ©guliĂšrement Ă la tĂ©lĂ©vision, la radio et dans les journaux Ă©thiopiens. Ma mĂšre a participĂ©, avec dâautres femmes de la diaspora Ă©thiopienne, Ă la crĂ©ation dâune association pour la dĂ©fense des droits des femmes et des enfants. Cette association lutte pour mettre fin au mariage des enfants, Ă la traite des Ă©thiopiens au Moyen-Orient ou pour libĂ©rer les prisonniers politiques. Quand jâĂ©tais jeune fille, je me souviens avoir assistĂ© Ă plusieurs manifestations au Capitole avec lâassociation de ma mĂšre, oĂč je prenais soin des bougies et des pancartes. Faire partie de ce genre de famille Ă©tait enrichissant mais aussi Ă©crasant. Je ne me voyais pas devenir de sitĂŽt un « petit soldat » activiste, quelle que soit la rĂ©volution. Jâai tout dâabord cherchĂ© dans les arts un Ă©chappatoire aux fardeaux de ce monde. MalgrĂ© tout, dĂšs mon plus jeune Ăąge, mes Ćuvres Ă©taient empreintes de rĂ©fĂ©rences politiques, historiques et culturelles, qui apparaissent aujourdâhui comme le prolongement de la recherche et de lâengagement de mes parents contre les injustices sociales. Je nâai pas Ă©chappĂ© Ă lâinfluence de mon environnement. Ma mĂšre est dĂ©cĂ©dĂ©e il y a trois ans. Depuis sa disparition, je remarque que mon travail devient de plus en plus politique. Je pense que câest une façon de me rapprocher dâelle en son absence. Son dĂ©vouement mâa toujours inspirĂ© et, en fin de compte, mâaide Ă faire face au chagrin.
- Quelles personnalités vous inspirent le plus ?
Je suis inspirĂ©e par le fait de voir des personnes surmonter lâadversitĂ© avec grĂące et avec la sagesse qui en dĂ©coule. Je pense que câest la raison pour laquelle une partie de ma pratique est engagĂ©e socialement. Jâaime crĂ©er des espaces de partage communautaire et enseigner, car le dialogue a le pouvoir de conduire Ă lâempathie. Je mâinspire Ă©galement des gens qui trouvent du sens aux contradictions de la condition humaine et qui sont capables de dĂ©construire les prĂ©jugĂ©s qui entourent les idĂ©es sur la race, le sexe et la sexualitĂ©, Ă travers un langage Ă©crit et visuel. Jâaime la façon dont James Baldwin, Toni Morrison et Audre Lorde utilisent les mots pour changer notre regard sur des questions chargĂ©es Ă©motionnellement. Je suis Ă©mue lorsque je vois lâart de Betye Saar et Howardena Pindell, ou interpellĂ©e par le concept des Ćuvres dâAdrian Piper et David Hammons. Les films douloureux de Haile Gerima et Julie Dash me motivent.
- Pouvez-vous nous en dire plus sur lâimportance du corps dans votre travail artistique ?
Jâai commencĂ© ma pratique artistique dans la peinture figurative. Ce nâest quâaprĂšs mes Ă©tudes supĂ©rieures que jâai commencĂ© Ă utiliser mon propre corps dans ma pratique artistique, comme un mĂ©dium en soi, par le biais de la performance et de ses dĂ©rivĂ©s. CâĂ©tait la façon la plus directe de traiter les questions dâidentitĂ© parce que mon identitĂ© se construit Ă lâintĂ©rieur de mon corps. Aucun corps nâest neutre (chaque corps a une certaine hauteur, taille, couleur, forme, sexe, etc). Puisque lâidentitĂ© fait partie du corps et que le spectateur projette sa perception de lâidentitĂ© sur le corps, le dialogue sur la race, le sexe et lâethnicitĂ© a lieu sans que jâaie Ă le suggĂ©rer.
- Pourquoi reliez vous les deux villes Washington DC et Addis-Abeba dans plusieurs de vos Ćuvres, comme « Weaving Capitals » en 2015 ?
En tant quâartiste de la diaspora, je me retrouve souvent dans une forme dâidentitĂ© hybride. Je suis nĂ©e Ă Washington DC, qui est la ville avec la plus grande communautĂ© dâĂthiopiens en dehors de lâĂthiopie. Mes parents ont Ă©migrĂ© dâAddis Abeba pour y vivre. Ils partageaient souvent leurs souvenirs nostalgiques et romancĂ©s de lâĂthiopie avant la rĂ©volution de 1974, car mon pĂšre ne pouvait y retourner en toute sĂ©curitĂ©, jusquâĂ rĂ©cemment. Jâai en quelque sorte hĂ©ritĂ© de cette nostalgie de la diaspora envers une patrie oĂč je nâai jamais vĂ©cu. Comme beaucoup dâenfants de la diaspora, je me suis construit une identitĂ© basĂ©e sur la notion dâentre-deux. En AmĂ©rique, je me sens de culture Ă©thiopienne, ayant grandi avec cette culture. En Ăthiopie, je me sens trĂšs amĂ©ricaine, car je nâai pas de liens physiques avec lâĂthiopie. En 2015 je suis allĂ©e dans les deux capitales pour rassembler des histoires orales et dĂ©velopper ma recherche sur les performances en direct, les installations et lâart vidĂ©o. Je me suis entretenue avec plus de quarante personnes qui ont fait des aller-retours entre Addis-Abeba et Washington DC dans le cadre du projet. Ils ont alors exprimĂ© divers points de vue sur leur sentiment dâappartenance Ă lâune ou lâautre nation. Les opinions divergeaient grandement. Certaines personnes ne souhaitaient plus quitter lâĂthiopie parce quâelles se sentaient stressĂ©es aux Ătats-Unis et nây trouvaient pas les valeurs quâelles recherchaient. Ă lâinverse certaines personnes ne voulaient plus revenir en Ăthiopie Ă cause du manque dâopportunitĂ©s, de lâhomophobie, etc. AprĂšs avoir interviewĂ© les participants, jâai transformĂ© leurs histoires en une enquĂȘte artistique sur les notions de foyer dans notre sociĂ©tĂ© de plus en plus mondialisĂ©e. Les rĂ©cits Ă©taient ceux des Ăthiopiens-AmĂ©ricains, pourtant, la rĂ©ussite du projet a tenu Ă sa capacitĂ© Ă transcender cette spĂ©cificitĂ© pour sâintĂ©resser de maniĂšre plus gĂ©nĂ©rale aux inquiĂ©tudes liĂ©es au sentiment dâappartenance Ă un lieu.
- Quels sont vos prochains projets ?
Mon prochain projet sera lâexamen de lâhistoire de lâart et de lâesthĂ©tique en Afrique, avec lâappui de quelques musĂ©es qui abritent dâimportantes collections dâart orthodoxe Ă©thiopien. En tant quâartiste Ă©thiopienne-amĂ©ricaine Ă©levĂ©e et Ă©duquĂ©e en Occident, je me suis donnĂ© pour mission de modifier les discours biaisĂ©s de lâhistoire de lâart qui mettent lâaccent sur lâexceptionnalisme occidental. Je veux avoir la chance dâĂȘtre imprĂ©gnĂ©e de la richesse de lâhistoire de lâart africain. Je suis en train de dĂ©velopper une sĂ©rie dâĆuvres avec des collages et de la peinture, et des Ćuvres performatives qui offrent un regard contemporain sur ces formes dâarts traditionnels. LâĆuvre reste ancrĂ©e dans le corps tout en croisant des histoires sĂ©culaires et politiques avec lâiconographie religieuse traditionnelle. Il sâagit de la suite dâune Ćuvre rĂ©cente intitulĂ©e "Refiguring the Canon", qui sera prĂ©sentĂ©e Ă AKAA cette annĂ©e.

Helina Metaferia Out Of The Palm Of My Hands collaged paper, 2019 210 cm x 56 cm
© Helina Metaferia and NOMAD GALLERY BRUSSELS
Art has the power to transform society
HELINA METAFERIA IS AN INTERDISCIPLINARY ARTIST BORN IN WASHINGTON, DC. SHE MIXES DIFFERENT TECHNIQUES SUCH AS COLLAGE, PAINTING, SCULPTURE, VIDEO, PERFORMANCE, AS WELL AS RESEARCH AND THE ORGANIZATION OF PARTICIPATORY PLATFORMS. SHE TELLS US ABOUT HER ROLE TO OPEN A CONVERSATION WITH THE PUBLIC THROUGH ART.
- Your art is political, it interrogates âraceâ, identities, gender, migration. Do you think that art is a powerful weapon for political and social change?
I am a believer of the transformable possibilities of art â or else I wouldnât be that invested in it. The artist role as a cultural producer is to serve as a time capsule for the present moment and as a visionary for future possibilities. When we begin to connect our personal experiences to social and global circumstances, it puts our singular narrative into the realm of public discourse, and innately alludes to the political. This can be powerful, as it offers more subjective opportunities for entry into a conversation than books, articles, or other analytical routes can provide. All art has this potential, from art objects (i.e. painting, collage, sculpture) to art experiences (i.e. performance, social practice, time based art).
- Your dad was a teacher in political science and your mom President of the Center for the Rights of Ethiopian Women (CREW). How was it to grew up in this very politically active environment?
I guess you could say I grew up in a âwoke 1 â household, which is the term used these days for that kind of thing. Both of my parents were politically active as Ethiopian expats, and we lived in the highly politicized metropolitan region of Washington, DC. As a professor, my father wrote books on Ethiopian politics and spoke regularly on this subject matter for Ethiopian TV, radio, and newspapers. My mother helped found an organization with other women in the Ethiopian diaspora to advocate for the rights of women and children â such as ending child marriage, freeing political prisoners, and ending human trafficking of Ethiopians in the Middle East. As a young girl, I remember attending many protests on Capitol Hill that my motherâs organization would put together, caring candles or signs with them. Being a part of that kind of household was enriching but also overwhelming, and I didnât see myself as a âfoot soldierâ activist for any revolution anytime soon. When I entered the arts, I saw it as an escape from the burdens of the world. However, even from a young age, my artwork always had political, historical, and cultural references that feel like an extension of my parentâs research and commitment to social justice. I couldnât help but be influenced from my environment. My mother passed away three years ago, and at that time I notice my work getting increasingly political. On a personal note, I suppose it was my way to connect to her in her absence. Her dedication to service always inspired me, and at the end of the day it helped me deal with my own grief.
- Who are your greatest inspirations?
I am mostly inspired by watching ordinary people overcome adversities with grace and the wisdom that forms from this. Witnessing strength and resilience unfold in everyday people and hearing their stories gives me hope and restores my faith in humanity. I guess thatâs why a part of my practice is steeped in socially engaged experiences. I enjoy creating platforms for communal sharing, knowing that the power of dialogue can lead to empathy. This is probably also why I teach as well. I am always humbled by watching people grow and develop, and it certainly feeds my own artistic practice. I am also inspired by people who can articulate the contradictions of the human condition, as well as deconstruct race, gender, and sexuality, through written and visual language. I love the way that James Baldwin, Toni Morrison, and Audre Lorde use words to describe new ways of looking at loaded issues. I feel moved when I see visual art by Betye Saar and Howardena Pindell, or challenged conceptually (in a good way) by the work of Adrian Piper and David Hammons. I feel motivated through the historically poignant films of Haile Gerima and Julie Dash. A large part of my artistic practice includes spending time going to art exhibitions, reading, writing, and thinking before I conceptualize an artistic project.
- Can you tell us more about the body as an artistic medium in your work?
I began my artistic practice as a figure painter. It wasnât until my graduate studies that I began using my own body in my artistic practice, as a medium in itself via performance and its relics. I felt that it was the most direct way to handle issues on identity because my identity is built within the medium. No body is neutral â each body comes with a certain height, size, color, shape, gender, etc. Since identity is a part of the material itself and gets projected onto it by the viewer, we are already having a conversation about race, gender, and ethnicity, without me having to imply it. My job as the artist and subject is to complicate that conversation and bring out possibilities within this tension. When I perform live, that tension happens in real time and constructed through action. When I perform on paper via mixed media collage, that tension happens once removed and constructed through images. Either way, I am challenging the audiences gaze on the black female body and its politics within space as a continuum of a larger history of artworks where the artist vulnerably brings their body to the foreground as subject and object.
- Can you explain why you link the two cities Washington, DC and Addis Ababa in some of your performance and video works, like âWeaving Capitalsâ in 2015?
As a diaspora artist, I often find myself in hybridity. I was born in Washington, DC, which has the largest community of Ethiopians outside of Ethiopia. My parents immigrated there from Addis Ababa and often romanticized their nostalgic memories of Ethiopia before the 1974 revolution, since my father couldnât return there safely until recently. As their daughter, I somehow inherited this diaspora longing for a homeland I never lived in. Like many children of the diaspora, I have constructed an identity for myself based on the notion of inbetweenness. In America I feel very Ethiopian, having grown up with the culture. In Ethiopia I feel very American, having grown up without physical ties to the country. In 2015 I traveled to both capital cities, gathering oral histories and developing the research into live performances, sculptural installation, and video art. I interviewed over forty people who have migrated back and forth for the project and who offered various views on their sense of belonging to either nation. The opinions ranged greatly. Some people never wanted to leave Ethiopia again because they deemed the United States to be too stressful or without the values they were seeking. Some people never wanted to enter Ethiopia again because of a lack of opportunities, increased homophobia, etc. After interviewing the participants I transformed their stories into an artistic investigation of the notions of home in our increasingly globalized society. Though the narratives were specific to Ethiopian-Americans, I found that the success of the project was in its ability to transcend this specificity and become more open ended to the general anxieties of belonging.
- What are your next projects?
My next project will be an examination of African art history and aesthetics, with the support of a couple of museums that house prominent Ethiopian Orthodox art collections. As an EthiopianAmerican artist who was raised and educated in the west, it has been a personal mission to shift the skewed narrative of art historical canonâs that emphasize western exceptionalism. I want to have the chance to steep myself in the richness of African art history. I am developing a series of mixed media collages/paintings and performative work that provide a contemporary spin to these traditional art forms. The work is still grounded in the body, but in a way that intersects secular and political histories with traditional religious iconography. This is a continuation of a recent body of work, titled Refiguring the Canon, which will be on view at AKAA art fair.

Helina Metaferia Flower Pot 2 collaged paper, 2019
124 cm x 68 cm (framed) courtesy the artist and NOMAD GALLERY BRUSSELS