Literature Program

Thursday, March 12 at 4:00 p.m.

UB Humanities Institute & Hallwalls present

Scholars@Hallwalls: Christian Flaugh

"Global Returns and Festive Publics: Côte d'Ivoire's Le Popo Carnaval as Practice of Revolting Subjects"

Join us at Hallwalls Contemporary Arts Center for our ninth year of Faculty Fellows talks! This lecture series brings current UB humanities research out into the community - with complimentary wine and hors d'oeuvres. Free and open to the public.

Carnival festivals, as in Cayenne, Port-au-Prince, Port of Spain, and Toronto, are known for black performance modes that gather and engage diverse publics. Artists, entrepreneurs, and spectators celebrate as they critique presumably American practices of revolting subjects, or the aesthetic and ethical intertwining of revulsion and revolt. Their publics expect grotesque, erotic, abject, and festive assemblages that follow as they disrupt Carnival's paths to "getting your global diversity on."

But what happens when Carnival practices, long informed by transatlantic black migrations, "return" to Africa, the continent of festivals? How and why might African artists, entrepreneurs, and spectators—long attuned to celebrations and critiques of global worldviews—re-assemble such performance modes for their publics? This talk points to answers that surface in Côte d'Ivoire's rebranded New Yam Festival, le Popo Carnaval, and in particular its ritual parading, vestiary, and "homecoming" traditions, overlapped with masquerading, town-to-town Carnival parties.

t: 716-854-1694
f: 716-854-1696

Tues.—Fri. 11-6
Sat. 11-2
Sun. & Mon. closed

from Jan. 10, 2020
through Feb. 28, 2020

Sarah Sutton
Knots and Pulses

This exhibition by Ithaca-area artist Sarah Sutton will feature a series of monochromatic oil paintings that combine representational imagery with distortions and abstractions that create scenarios in flux. They are essentially landscape paintings, but Sutton's treatment of the landscape toys with its sense of space and the notion of the built vs. the natural environment.

Katie Bell
Abstract Cabinet

Katie Bell’s exhibition is a site-specific installation conceived of as a one-act drama starring anonymous artifacts. Functioning like a theatrical set, the gallery holds static characters that reference the interior architecture of corporate and commercial spaces. Sculptural objects are often fractured or untethered to a contextual structure. Functioning as a whole, the individual artefacts are a nod to players on a stage, held captive in space and time.