(by Gina Di Meo) (ANSA) – NEW YORK, 01 NOV – The revenge on a stolen past and present and a future that could have been. The Metropolitan Museum of New York revisits its traditional history of rooms of the time and inaugurates one where instead past, present and future are interconnected to highlight ‘black’ creativity. Before Yesterday We Could Fly: An Afrofuturist Period Room, this is the title of the exhibition that opens to the public from 5 November, is a new room of time that transforms the interior of a 19th century room into a space unrelated to time even though it apparently shows works and furniture from a certain historical period. And through the collaboration with Afrofuturismo, the current that broadly ‘projects people of African descent into the future, in a dimension where the concept of race is nothing more than a creation’.
Hannah Beachler, Oscar winner for best production design together with Jay Hart for the film Black Panther (2018) is the exceptional curator for this project “It is important to me because it initiates an important conversation with time, the sense of loss, the community and hope “, he explains to ANSA,” It means possibility, it means that many things have not been written, including the past. It means the possibility of knocking down (symbolically, ed) the walls of a traditional institution to make way for a space that everyone is part of “.
The time room draws from the Met’s collection and significantly, emphasizes Ian Alteveer, co-curator of The Met’s Department of Modern and Contemporary Art, “has been placed in a central area of the museum where the European, British modern art galleries are located. and American, in allusion to the connection that exists between it and the different histories of colonialism “The walls are a tribute and a recognition of Seneca Village, a 19th century settlement of African American landowners, in Manhattan, who were uprooted from the Upper West Side to make way for Central Park. The community mainly occupies the area behind the Met. “What would have happened if this community had had the opportunity to grow and thrive?” is the question posed by the exhibition, which also tries to give answers by showing a story that many refuse to see and by representing the experiences of so many African-American communities that over the centuries have suffered both violent destruction, such as the Tulsa massacre in 1921, both as ‘forced removals’ as it was in the case of Seneca Village and Central Park. (HANDLE).
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Source From: Ansa
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