Curated by Alanna Lockward

Walter Mignolo, Advisor

June 11-12

Autograph ABP

Rivington Place



Daily tickets

25£/15£ Concessions (includes lunch)

June 13

TATE Britain

18:30 – 20:00

London SW1P 4RG
Plan your visit

£9/£6 concession


Be.Bop 2018 Catalogue41


June 11




Stitches of Power / Stitches of Sorrow

Patricia Kaersenhout, performance

Stitches of Power. Stitches of Sorrow makes a case for relationality of movements and continuity of time. It associates the Dahomey Women warriors who were active along the shores of the African West Coast in the 18th and 19th century, with the US based Black Panther Movement of the 1970s that Angela Davis was affiliated with and the here and now, Kaersenhout herself and the audience in their act of embroidering, while all of them are representing different levels of violence. Embroidering “innocent” images on white fabric was a popular pastime for white colonial women, in sharp contrast to the daily lived experiences of Black women.




Panel I: The Commons of Struggle / The Common Struggle?

Robbie Shilliam, Gurminder Bhambra, Sasha Huber, Sophie Maríñez

Moderated by Alanna Lockward

This panel presents various takes on colonial legacies and how they inform the present. From Britain’s longing to return to a fantasy of the old colonial empire, epitomized in recent Brexit debates, to Decolonial literature and poetry that celebrates a legacy of solidarity between the Dominican Republic and Haiti against dominant readings of historiographies. Panelists discuss various methods and strategies to excavate and make visible long and forgotten histories of Decolonial aesthesis.




Panel II: Decolonial Aesthesis and the End of the Contemporary

Rolando Vázquez, Patricia Kaersenhout, Ovidiu Tichindeleanu

Moderated by Walter Mignolo

Participants of this panel aim at showing the significant influence of non-European political and artistic praxis on dominant Western canons both within art history and political struggles. Significant here is the obvious influence of Black thought and intellectual labor on European politics and cultural life, intentionally forgotten and subdued.

June 12


Perception Gap

Patrice Naiambana, solo digital performance

This solo digital performance explores the psychological pressures that the African immigrant-outsider experiences. The biggest fear is that of being swallowed by the perception gap, created by the different ways of seeing between insider and outsider. There is a peril in the un-becoming of being a ‘here and there’ person. Will he survive by putting flesh on silences?




Panel III: On “Misplaced Women?”, “Inner Diasporas” and “Respectable Maroons”

Tanja Ostojic, Nazila Kivi, Alanna Lockward, Chandra Frank

Moderated by Rolando Vázquez

In these presentations artists and scholars will think through various histories of transnational Diasporic solidarity work, spanning from ideas around Black and Brown Queer kinship to theologies of liberation instrumental to Decolonial political struggles. At that this panel intends to take a more complex look into Diasporic communities and analyze unequal power structures within groups of marginalized peoples.




Panel IV: Decolonial Praxis of Living through Aesthesis and  Education

Walter Mignolo, Mark Sealy, Julia Roth, Joiri Minaya

Moderated by Alanna Lockward

This last panel will discuss the very pragmatic side of applying Decolonial aesthesis and education within cultural institutions and places of higher learning. How do educators and cultural agents move and teach in places entrenched in long histories of colonial enterprise? What strategies can they apply to challenge students and/or visitors in their thinking and eventually behavior?



Moderated by Robbie Shilliam

June 13

TATE Britain

18:00 – 20:00

Decolonial AestheSis: what Does Coloniality Mean and

What is Decoloniality About?

Keynote by Walter Mignolo

Respondent: Phoebe Boswell

Moderated by Alanna Lockward

£9/£6 concession

Roland Barthes said once, a propos of his book Système de la Mode, “le bleu est à la mode cette année,” One could say that coloniality and decoloniality are fashionable these days. In view of this, my talk will be both an explanation of how what coloniality and decoloniality means to me in conversation with many others thinkers, artists, curators, journalists, and thinkers in general, that have Anibal Quijano as a point of reference for decolonial doing and thinking. I would also explain what aesthetics and aesthesis mean in the frame of the colonial matrix of power and in that sense elaborate on what artists, curators and decolonial thinkers want.