No, I remember not know, shared the laughter history into two main branches. Firstly, we have black laughter are, and before anyone gets hemorrhage: it has nothing to joke about skin color to do. It is the cynical laughter, the sophisticated oblique, ironic smile of the state of affairs. Charles Baudelaire is svartskrattets prominent figure, Michel de Montaigne an ancestor from the 1500s.
Then there snorting gapskrattet, burlesque and rich humor based the participation and often involves stumbling, smudges, and body (dys) functions. It is usually classified as folk. Another writer from the French Renaissance, François Rabelais , the milestone here.
Black Laughter acts through the exact, clever observation for an audience that understands, lush gapskrattet uses mass effect and excesses . Boundlessness is not a concern, it is the main point.
Makode Linde art approaches it later. When his “Negro king’s return” is now open at Kulturhuset in Stockholm, it is against the background of a debate about the title of the exhibition, an art director who resigned in conflict with the institution’s chief executive and an exchange of views in social media without precedent.
At the entrance are asked to anonymize themselves with a black balaclava with big red mouth and splayed teeth, alternatively wood a paper bag over his head. Then, you enter in a dark cave full of a myriad of maimed limbs, statues, a tombstone over the children’s character Little heart, heads impaled on stakes … Everything is painted black.
It’s like a visit Kurtz in “Heart of Darkness” and you realize that Linde is near the a celebrated artist Jan Håfström engaged, it’s just more fun.
To access the visual bomb carpet, cluttered and overload and repetitive as a kid, it is possible to end not help but giggle. Which will be hard – laugh at black faces, one does well not ?! But the trap is set. The opposite, to stand and watch blackface after blackface with serious art a connoisseur feels incredibly silly. Perhaps it is fortunate that it is masked.
Makode Linde’s critics think he is racist issues using offensive stereotypes. Culture World do not really know how to handle him.
There are expectation that Linde will represent a group, a skin color, but then Linde wants to be an artist and not be reduced to a Migratory identity becomes short. For the carnivalesque laughter tradition recognizes no hierarchies at all, it laughs at all (as in a left to claim the popular appeal has raised some irritation over the years). One can say that it actually does so nothing is black or white anymore.
Think about it for a while.
Is not it something really fantastic?