Coming soon on this page more information about the third edition of Cargo Culte curated by Martina Sabbadini
Cargo Culte, a collaborative, international initiative
conceived and delivered by French artists Carlotta Bailly-
Borg, Lauren Coullard, Amelie Deschamps and the
curator Sophie Lapalu is currently embarking upon a
second artistic opus. Building upon the success of Cargo
Culte I, eleven artists, whom have been selected due
to their sensitive approach to the project theme, have
been invited to contribute to the project. The artists are
Audrey Cottin (FR), Pauline Delwaulle (FR),Fréderic
Dutertre (FR), Cédric Fenet (FR), Stéphanie Lagarde
(FR), Natalie Mc Ilroy (UK), Inuk Silis Hoegh (GL),
Eva Taulois (FR), Carla Wright (UK).
This second thematic approach investigates the fundamental principles of the term “cargo cult”, as a paradigm for univocal capitalistic vision. Indeed, these religious practices have been interpretated by anthropologists as a quest for material wealth through magic and rituals. The Cargo Culte’s reverence towards manufacturing proposes a specific (Melanesian) cosmogony enhanced by the myths of capitalistic culture; that of commodity fetishism as a universal model for progress and power.
“Wealth measured in terms of accumulation and possession is not in fact an indigenous concept, the use of it is part of complex patterns of social relations between men, and sacred relationship between men and gods.” (Mondher Kilani, Les cultes du cargo mélanesien : mythe et rationalité en anthropologie, Éditions d’en bas, Lausanne, 1983, p.87).
It is indeed not the possession of wealth that distinguishes a man in a Melanesian society, but the imitation, replication and sense of westernised purpose that establishes hierarchy. However, as this is an amalgamation of western ideas and tribal spiritualism, Anglo/American interpretation of Cargo Culte communities needs sensitivity and openness to the diversity of experiences and intentions. By investigating the dialectic between opposition and adaptation, the cargo cults prove to be a edifying manifestation of acts of resistance and appropriation whilst facing crisis and social dislocations provoked by colonialism.
In the context of a global economical and social crisis, CCII orientates its research on resistance through international cultures, and wishes this second opus to be a platform for exchanges. It is essential to collaborate, associate and situate CCII within a larger contemporary art practice through profiling and merchandising. Cultural tools being at the core of the debate; flow, speech and exchange of knowledge, we wish to build a political space for exchanges.
With this in mind, we wish to invite eleven, engaged artists to work with us in a workshop environment; to share their own research and discuss our research as facilitators of this project. The diversity of the approaches - theoretical, practical, political - would allow an intuitive articulation and cohesion between the editorial context and the exhibition space.