Artist and curator Barby Asante was born into a family of Ghanaian descent in London, England in 1975. She studied Fine Art at the University of East London (1992–95) and Visual Cultures at Middlesex University (1997–99). Asante's body of work, spanning film, performance, writing, and events, explores the politics of place, space memory, and the enduring legacies of colonialism. Currently, she works on a long-term research project titled <em>As Always a Painful Declaration of Independence: For Ama. For Aba. For Charlotte and Adjoa</em>, examining the agency of womxn of colour and which has been showcased in segments at various venues in England and internationally since 2017. Asante holds the position of Assistant Curator at 198 Contemporary Arts and Learning and is also a board member of the Women’s Art Library.
Performance artist and curator, Barby Asante was born into a family of Ghanaian descent in London, England in 1975. She completed her BA in Fine Art at the University of East London (1992–95) under the guidance of filmmakers John Smith and Alia Syed, followed by an MA in Visual Cultures from Middlesex University (1997–99). Asante's oeuvre, which encompasses film, performance, writing, and events, explores the politics of place, space memory, and the enduring legacies of colonialism. Specifically, she examines how memory functions in the diaspora, when individuals of colour are several generations apart from their M-Otherlands. Her art is collaborative, performative, and rooted in dialogue, often involving a community of individuals as contributors or fellow researchers. In her own words, her approach ‘is based on the collectivity of a coming together’ (Studio International interview). Asante challenges the perception that the stories of Other-ness are merely alternatives to prevailing mainstream narratives. Instead, she believes these are ‘interruptions, utterances, presences that exist within, that are invisible, unheard, missing or ignored’ (artist’s website). Through highlighting these narratives and prompting enquiries, Asante explores the potential they present as we scrutinise our present and contemplate our prospective futures.
Asante has undertaken projects that investigate music, its societal implications, and cultural resonance, with a distinct focus on black music and its pivotal role in shaping postwar British cultural identity. Her project, The South London Black Archive (exhibited at Peckham Platform / Tate Modern in 2012), charts black music and its recollections in South London, engaging audiences and locals in a collaborative effort to curate an archive centered on memories of black music. The ongoing group performance, Baldwin’s Nigger RELOADED, which debuted at Iniva, Nottingham (2014), examines the lasting impacts of the Civil Rights Movement and the influence of Black intellectual discourse on today's youth. This work evolved into Baldwin’s Nigger Reloaded II, showcased at the October Gallery London (2015) and other venues nationwide. Drawing inspiration from James Baldwin's speech in Horace Ove's 1968 film Baldwin's Nigger , it presents a modern-day examination of Baldwin's challenge through a meditative ritual of re-enacting and re-performing the original event. With each subsequent performance, attendees are prompted to reimagine the text, contributing personal experiences and perspectives. Every revised script is preserved and archived. This ongoing, diverse dialogue explores current issues, ranging from global terrorism, Islamophobia, the refugee and migrant crisis, and police brutality, to racism, global power dynamics driven by economics, wars, white supremacy, and facets of identity, including gender and sexuality, while underscoring the role of archives in sculpting alternative narratives concerning politics, society, and culture.
Asante's ongoing work, The Queen and the Black Eyed-Squint, intertwines the experiences of two Ghanaian women from two separate contexts: one real, Monica Amekoafia, who became the first Miss Ghana in 1957, and one fictional, taken from Ama Ata Aidoo's 1977 novel, Our Sister Killjoy, which chronicles a young Ghanaian woman's voyage to Europe. Asante's interpretation bridges these narratives, creating contemporary reflections on place and identity, contrasting historical events with current dialogues on Empire, race, and colonial legacy. As Always A Painful Declaration of Independence: For Ama For Aba For. Charlotte and Adjoa, Cera Project, London was first performed at Cera Project, London, in 2016. It also featured in the Diaspora Pavilion during the 2017 Venice Biennale and has been showcased in various UK venues since then. Asante described the work as ‘performative writing, a living archive and a cartography of women’s stories’ (Diallo 2017). The performance takes place in a summit space reminiscent of a conference hall – a space traditionally designated for treaties and trade agreements, where decisions are made by the few on behalf of the many. On television screens, Asante presides over a gathering of 'delegates' – womxn of colour who sequentially share intimate tales, sometimes expressed through poetry, song, or other performances, about existence, affection, and resistance. Each declaration is a unique response from womxn to Ama Ata Aidoo's 1992 poem, As Always a Painful Declaration of Independence. The initial inspiration for Asante's project stemmed from the significant contributions of womxn of colour to global activism, deeply rooted in Asante's personal and historical investigation into Ghana's 1957 independence from the UK. During her research, Asante encountered Aidoo's poignant poem and felt compelled to respond. This engagement evolved into a multi-faceted initiative encompassing interdisciplinary projects, workshops, and performances.
Asante has collaborated with various institutions such as the Live Art Development Agency, Home Live Art, Hewitt and Jordan, Serpentine Gallery, and 198 Contemporary Arts and Learning, where she is Associate Curator. Recently, her work featured in AfroScots: Revisiting the Work of Black Artists in Scotland through New Collecting at GoMA, Glasgow (2022). Asante is pursuing her PhD at the Centre for Research in Education, Arts and Media, University of Westminster, London. Her work is not represented in UK public collections.
Consult items in the Ben Uri archive related to [Barby Asante]
Publications related to [Barby Asante] in the Ben Uri Library