INTERVENTION AT PENN STATE UNIVERSITY
On April 16 2019, I will intervene in a conversation about my work entitled CROSSING BORDERS AND CREOLIZING PRACTICES: HYBRID AESTHETICS AND TRANSNATIONAL IMAGINARIES A conversation with visual artist Djuneid Dulloo
Using a mixed-media interdisciplinary approach—that focuses on the work of visual artist Djuneid Dulloo—this public event discusses the link between creolized forms, entangled aesthetics, and the representation of hybrid realities. A Mauritian-born artist, who left the Mascarene island as a teenager to attend High School in Kenya, Dulloo studied fine art in college in Boston. Based in Berlin since almost a decade, his distinct work today qualifies him as a powerful transnational artist who brings together Creole, African, and Western imaginaries and cosmologies. While his paintings and photography express the overlapping of multiple geographies, temporalities, and cultural identities, Dulloo’s breakdown of formal categories, epistemological taxonomies, and mainstream aesthetic historiographies, not only echoes the heterogeneity and cultural diversity of his native island; it also foregrounds creolization as a creative practice—a methodology for performing transcultural exchange—that produces unpredictable connections, and crosses both physical and imaginary borders.
In this conversation with faculty members from Penn State, Dulloo proposes to look back at his artistic journey from the Indian Ocean, to Africa, America and Europe, recounting how his adventurous explorations through aesthetics and content has evolved to embody the very processes of circulation and hybridization that produces heterogeneity and transformation on a global scale. While he prefers not to approach the difference between his earlier works and the later ones from a linear perspective, he offers to discuss particular works (or sets of works) as fragments, flashpoints, and narratives that produce their own version of hybrid realties and diversified fragrances. Challenging the rigid divisions between Western Art and expressive cultures from previously colonized spaces, he will also speak about the aesthetic influences that have impacted his own syncretic visual language—American Abstraction, Italian Renaissance, African Art, European Modernism—bringing about the question of Mauritian art as a way of thinking through the bearing of so-called “minor” expressions on the full apprehension of World Art.