FRED KUDJO
KUWORNU
Fred Kudjo Kuwornu is a multi-hyphenate socially engaged artist, filmmaker and scholar whose work is deeply influenced by his background as a person of African descent. Born and raised in Italy, Kuwornu is based in New York. His unique background is reflected in his triple citizenship, holding Italian, Ghanaian, and U.S. passports. Kuwornu received an MA in Political Science from the University of Bologna.
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" (2010) - This documentary reconstructs and highlights the significant contributions of African-American soldiers to the Liberation of Europe during World War II.
"18 Ius Soli" (2012) - This film explores the complex issue of citizenship for children born to immigrant parents in Italy.
"Blaxploitalian: 100 Years of Blackness in Italian Cinema" (2016) - This documentary examines the representation and experiences of Black actors in Italian cinema from 1915 to the present day.
"We Were Here: The Untold History of Black Africans in Renaissance Europe" (2024) - This groundbreaking documentary sheds light on the presence and contributions of Black Africans in Renaissance Europe, challenging traditional historical narratives.
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In 2024, Adriano Pedrosa selected Fred Kudjo Kuwornu's "We Were Here" to exhibit at the Central Pavilion of the 60th International Art Exhibition of the Venice Biennale: "Foreigners Everywhere". This prestigious selection highlights the film's significance in addressing themes of cultural identity and historical erasure within the global contemporary art discourse.
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His works have been exhibited at prestigious venues including the Central Pavilion at the Venice Art Biennale (2024), Museum of Moving Image in New York, Library of Congress, Museum of Fine Arts, Houston, George Eastman Museum and numerous international film festivals.
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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 Prize Mutti.
ARTIST PRACTICE
By consistently bridging past and present, seen and unseen, hegemonic and subaltern, 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, power and representation in our globalized world.
Echoing Stuart Hall's perspective on the intricate relationship between past and present, Kuwornu's artistic methodology functions 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 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.
In works like "We Were Here: The Untold History of Black 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. His practice extends beyond documentation, venturing into the realm of social engagement.
Mirroring Aimé Césaire's declaration that "It is a new society that we must create," Kuwornu's works act as interventions in public discourse. By positioning his work at the intersection of artistic practice and social activism, he creates a space for critical reflection and dialogue, inviting viewers to challenge their assumptions about history, memory, and representation.
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Kuwornu's curatorial vision can be understood as historical remixing, where he reconfigures archival materials 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 effort to decolonize the gaze and reimagine historical narratives in a post-colonial context.