![]() People understand the significance of themselves and their worth. It’s about numbers but also acknowledgment, a need to preserve certain communities-not just from the archivists. I’ve never experienced so many lives of Black and Brown people in the archives before. This is the first archive where I’ve been more interested in the present than the absent, because it was full of the kinds of stories that are normally absent. How has this experience influenced your consideration of historical gaps? You’ve identified “the absent” in the archive as an “activator” for you. The conversations that we have connect, shift and create new meaning when they start to touch other people’s stories. For me, it’s never about them and us, or you and me. To understand that, we need to know where we’ve come from, and where others have come from. I don’t believe we can effect any change for the future if we don’t understand the present. Why is it important to you to entangle past with present and the living? The conversations that we have connect, shift and create new meaning when they start to touch other people’s stories ![]() There are constant back-and-forth moments between artists and histories in the archive. There are stories about injustice and civil rights that run throughout the film. The trumpeter Troy Sawyer returned to New Orleans after Katrina to set up the nonprofit Girls Play Trumpets Too because he was conscious that women didn’t have the space to be solo trumpet players. There’s an emerging artist in the film who talks about gender identity, his fears, the risks. I was introduced to people connected to things that sparked excitement for me in the archives-artists trying to make changes. The exhibition also reflects your communing with contemporary voices. ![]() There were lots of ways artists were creatively resisting. She opened up new avenues about activism in New Orleans, who was participating and how-musicians, the Free Southern Theater. ![]() Catlett was the beginning of a thread about resistance and the creative process. There are exchanges that are incredibly human but also incredibly politicised, that speak to the conversations I have as a contemporary artist. There were letters to her from Black women artists saying, “I want to be a good artist, but this is the struggle,” and she would write back. Elizabeth Catlett kept coming up as a voice. I don’t want it to be a purely intellectual exercise I need to feel something. Helen Cammock: I asked to see things that felt different from each other, then started to find my way. The Art Newspaper: How did you approach the Amistad Research Center? Did you start from a place of unfamiliarity? Bringing archival material into an open, present-day dialogue, I Will Keep My Soul draws together perspectives and politics, and an invitation to consider one’s own agency within shared struggles. It stems from a residency at the Rivers Institute that invites artists to engage with the Amistad Research Center (ARC) in New Orleans, the nation’s oldest and largest independent archive specialising in African American history. Organised by the California African American Museum and the Rivers Institute for Contemporary Art and Thought, the exhibition is Cammock’s first in the US. Helen Cammock’s film, I will Keep My Soul, documents her time exploring the Amistad Research Center, which specialises in African American history Courtesy the artist © Helen Cammock In a video, screenprints, performances and companion book, their voices meditate on various scales of autonomy and care at the margins. Her exhibition at Art + Practice, I Will Keep My Soul, weaves contemporary lives from New Orleans’s creative community with historical threads pertaining to this rich but undervalued enclave. The latter was featured in her Turner Prize-shortlisted film, The Long Note (2018), which brought the Brighton- and London-based artist into the international spotlight.Īs drawn as she is to history, Cammock always makes work in relation to the present, inviting people connected to stories she excavates to assume active roles in videos and performances. Her videos, screenprints, writings and installations bridge and collapse time and geographies, and have focused on groups including Black migrants to Europe and women involved in the 1960s civil rights movement in Northern Ireland. Helen Cammock is attentive to who and what is rendered in the historical record, and the gaps between.
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