NEW YORK, NY.- N間ritude, an experimental multi-disciplinary exhibition at Exit Art, explores the visionary 20th century political and artistic movement of the same name � coined by the Martinican poet, playwright, and politician Aim� C閟aire in the 1930s � which flourished among Black intellectuals in post-World War I Paris and later spread to Africa, the United States and the Caribbean.

This exhibition seeks to define N間ritude as an 揳rchipelago�, with many 搃slands�, or perspectives. N間ritude is an idea that developed in distinct ways in different countries due, in part, to language, culture, and the political climate. Exit Art � to reflect this diversity and to offer varying perspectives � invited four other individuals to organize this project in collaboration.

N間ritude includes different 搃slands� created and produced by five individuals who are curators, cultural critics, scholars, filmmakers and artists, representing African-American, African, Caribbean and South American cultures. Over the course of several months, these individuals met to share their ideas and develop their 搃slands.� Each person was asked to curate their 搃sland� of N間ritude by presenting an exhibition of visual art; film screenings; music; performances; and/or public activities that detail their own experience, interest, or study of N間ritude.

N間ritude was a celebration of shared black heritage and an affirmation and valorization of pan-African identity and was a direct response to the effects of the African slave trade, French colonization of West Africa, and the New World plantation system. The beginnings of the Afro-Caribbean movement can be traced to literary movements in Puerto Rico and Cuba through the writing of Puerto Rican poet Luis Pales Matos, whose poem 揃lack Town� was published in 1927, and the Cuban Nicolas Guillen, although Cesaire's version of N間ritude would eventually eclipse them. Under the influence of C閟aire, the Guianan L閛n Damas, and L閛pold S閐ar Senghor, the future president of Senegal, N間ritude became a global movement, ultimately becoming radicalized and re-envisioned as a strict rejection of the domination of 搕he West�.

Showcasing several generations of African-American, Caribbean, South American and African artists, performers and writers, N間ritude features work that examines the history, impact, and transmutations of this cultural movement. It looks beyond the historical N間ritude movement to investigate also the emergence of the Harlem Renaissance and Modernism in the 1920s and 30s and contemporary responses to the concept of 揵lackness, highlighting the post-Civil Rights generation of black artists who have new perspectives on racial identity and politics.

Through a series of mini-exhibitions, film screenings, performances, readings, stories and discussions, Exit Art will examine the historical effects and contemporary impact of N間ritude by exploring its archipelago, island by island.

Conceived by Papo Colo. Produced by Papo Colo, T鈔ia Cypriano, Rose R閖ouis, Franklin Sirmans, and Greg Tate.

HIGHLIGHTS
Papo Colo抯 搃sland� uses live cotton and sugar plants to reference two of the earliest slave-grown commodities in the Americas, and will involve the participation of students in the process of creating his installation. Stacks of paper, printed with the images of N間ritude icons such as Malcolm X, Pel� and President Barack Obama, will be included on the 搃sland.� In partnership with New York area schools, students will be invited to choose their 揻avorite� icon and fold his or her image into a paper airplane or boat that will be placed in the installation with the artist抯 intervention.

T鈔ia Cypriano explores Afro-Brazilian culture through a ten-week screening series that touches on topics from capoeira to samba, Quilombos to religion, racism in soap operas to the globalization theories of philosopher Milton Santos. Her exhibition features works by renowned photographer Mario Cravo Neto � a resident of Bahia, Brazil and a follower of Candombl�, an Afro-Brazilian religion � among other works.

Rose R閖ouis argues that N間ritude, as Aim� C閟aire envisioned it, was a form of 揹ark play� (to use a term by Richard Schechner). Relying on the safety net of literary French, the language in which he wrote his poetry, C閟aire recycled negative stereotypes of black people while recovering new ground for self-affirmation. R閖ouis explores this notion through her exhibition, which includes artists Wura-Natasha Ogunji and Haitian-American artist Vladimir Cybil Charlier-Juste, and performances by African-Hungarian music group Dallam-Dougou and poet Saul Williams.

Greg Tate presents a three-room 揃lack Mystery Anti-Panopticon,� envisioning N間ritude as a 損lace� for mystery and funk, music and soul. A DJ shrine, created by Tate and the artists Xaviera Simmons and Arthur Jafa, will provide a site for weekly performances; a raised stage outfitted with a drum kit, microphones, and amps will be used for occasional live music; and an exhibition of visionary black artists � including Thornton Dial, Jr., Thornton Dial, Sr., and Lonnie Holley � coupled with laminated pages from the books Souls Grown Deep: African American Vernacular Art, Vols. 1 and 2, will create a 揷onjuration room where willing spirits can come to get toasted, roasted, and lit the fuck up.�