REVOLUTION KID (CALF) 2012

Editor: Right now, we’re looking at Yinka Shonibare's mixed-media sculpture, "Revolution Kid (Calf)," created in 2012. The figure of a child with a calf's head, clad in vibrantly patterned fabric and holding a golden gun, makes a powerful first impression. What do you see in this piece, especially in relation to current socio-political issues? Curator: This sculpture stages a compelling confrontation with power and identity. The calf's head immediately draws attention to questions of the "other," playing with societal anxieties surrounding marginalized communities. The Dutch wax fabric, often associated with African identity, adds a layer of complexity by pointing to the entangled history of colonialism and cultural exchange. The golden gun raises pertinent questions. What narrative are we writing for the "oppressed", if the only option is to mimic violent tactics of oppression? Editor: It's interesting you bring up the fabric. How does its history inform the reading of the sculpture? Curator: The fabric’s journey, originating in Indonesia, manufactured in the UK, and then sold in West Africa, highlights the complexities of global trade and cultural appropriation. It symbolizes a hybrid identity that challenges notions of authenticity and purity. So, how does that reposition the figure itself, and what narratives does that open or close off for this 'revolutionary'? Editor: I hadn't thought about the global implications in that way, specifically on contemporary social struggles, which really makes me think differently about what revolution signifies. Curator: Exactly. And how do you think the figure, particularly the child, factors into how we might see their impact on the revolution. Editor: That reframes how I view both the history and the future that it points to. Thanks, this was incredibly insightful.