Prospetto a Mare Exhibition

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Interrogating the interplay of mobility, colonization, and contemporary stories of migrancy, Dawit L. Petros’ exhibition Prospetto a Mare (Prospectus to Sea) examines the complicated colonial and postcolonial histories connecting East Africa and Europe. Rooted in the examination of a historic transatlantic flight, Petros shows how gaps in history and failures of public memory have affected and connected people across borders, binding the disparate geographies of Italy, Eritrea, and North America.

In 1933, Italo Balbo, Benito Mussolini’s Air Force Minister, led a transatlantic flight of twenty-four seaplanes from Orbetello, Italy to the United States, arriving on July 13 which coincided with Italy’s participation in the A Century of Progress International Exposition. In Canada, Shediac Bay (New Brunswick), Shoal Harbour (Newfoundland), and Montreal (Quebec) were crucial staging and reception points for the legs of the roundtrip flight to and from the US. A feat that was celebrated as an achievement of technology and symbol of progress and modernity, the voyage would strengthen Italy’s position in Europe and support the country’s rationalization of continued colonial rule in East Africa, including Petros’ birth nation of Eritrea, a colony created by the Italians in the 19th century.

The technology of the airplane, like the camera, offers a lens with which to understand how Italy constructed subjects of its empire as static, mute and invisible. Prospetto a Mare begins here, investigating through photography, video, and sound how visual representation fixed specific ideas about the nature of East Africans that continue to impact contemporary material realities of these former colonies and their global diasporas, including significant numbers of African Canadians. While these histories of Black Canadians from the Horn of Africa – Eritrea, Ethiopian, and Somalia – are a vital component of contemporary Canadian communities, their complex narratives expand familiar conceptualizations of African Canadian or Black Canadian experiences.

Prospetto a Mare brings together works from The Stranger’s Notebook (2016-17), which addresses the West’s limited knowledge of cross-border flows and diasporas within the African continent, and Spazio Disponibile (2019), which examines contemporary flows of Africans out of the continent in relation to European colonial history in Eritrea.

Image detail: Dawit L. Petros, Untitled (Overlapping and intertwined territories that fall from view II), Catania, Italy, 2019, archival color pigment print, 30 x 37.5 in. Courtesy of the artist

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Art Gallery of Guelph

The Art Gallery of Guelph (AGG) is one of Canada’s premier public art spaces, engaging audiences with innovative artists and ideas from around the world. Through a rigorous and collaborative artistic program that positions visual culture in an ever-changing cultural landscape, the gallery supports social exchange and shapes public discourse. Located in one of Canada’s most innovation-rich and socially-engaged urban environments, the AGG offers compelling artistic encounters and contributes to a thriving national artistic climate through global connections that foster and proliferate creative innovation.

Established in 1978 as the former Macdonald Stewart Art Centre, the AGG operates today with three sponsors – the University of Guelph, City of Guelph and the Upper Grand District School Board – informing the blended artistic, civic and educational impulses at the heart of the AGG’s mission and vision. Committed to shaping contemporary art histories, the AGG is recognized internationally for its collection of over 10,000 Canadian and international works. Extending the social space of the gallery beyond its walls, the AGG’s Sculpture Park is the most comprehensive contemporary outdoor art collection at a public gallery in Canada, with permanent installations by regional, national, and international artists.