- / Design e Architettura
L’uso dei materiali e il catalogo per Angelo Mangiarotti: la forma non si impone ma si ottiene per incastri, gravità e resistenza. Il libro Framing the Project (Corraini) ne ripercorre il gesto
ISSUE NO. 31
According to the Federal Commission against Racism, out of 876 cases reported in Switzerland in 2023, 327 were related to xenophobia and anti-Black racism. Most incidents occurred in educational settings, in the workplace, or in public spaces. In Jordan Watson’s canvases exhibited in St. Moritz, the Black community appears center stage in lush environments.
“With Easier to Breathe,” the artist tells Lampoon in the interview, “I’m painting a potential present for some and sowing the seeds of a near future for many. These works imagine a world where the Black community thrives in spaces of luxury, joy, and abundance, in places that have historically excluded us. By presenting these aspirational conditions, I want to challenge viewers to see it not as fantasy but as a reality we deserve to create and sustain. At the same time, I’m aware of the facts on the ground. Statistics from the Federal Commission against Racism remind us how far we still have to go. My paintings are as much about possibility as they are about affirmation. They say, ‘Our place is here. We have always belonged here.’”
The title of the show, Easier to Breathe, evokes the dimension of breath—both as vital force and as a reference to the purity of the Swiss landscape. The Engadin region has inspired numerous thinkers and artists, including Jean-Michel Basquiat. According to several critics—among Italian ones, Achille Bonito Oliva—Basquiat’s work connects to Afrofuturism. How did this natural context influence the creation of Jordan Watson’s new works?
“When Robilant + Voena proposed this exhibition to me,” the artist tells Lampoon, “my first thought was: I wonder what it’s like to be among those postcard mountains in St. Moritz. I told myself that up there, breathing must be easier. Even the air seems lighter. Life must be simpler up there. I couldn’t help but imagine what Jean-Michel Basquiat must have thought the first time he saw the Engadin landscape. What did he feel? What did he see? What inspired the paintings he made while he was there?
In many ways, I feel like I’m following in his footsteps: a Black man from New York immersed in a totally new world. It’s a profound contrast. What will I see there that sparks something new in me? That was the question I asked myself as I prepared for this exhibition.
The works in Easier to Breathe came from my dreams, imagining a place I had never experienced but felt drawn to. The purity of the Swiss landscape—its quiet strength and its luxurious beauty—seems like the perfect backdrop to explore themes of possibility, freedom, and new perspectives. It’s the continuation of a journey of discovery and creation.”
In his works, the artist depicts Black men—and especially Black women—participating in activities like cycling, skiing, and motor sports, disciplines historically inhospitable to Black participation. Why are the faces of the figures in his paintings always anonymous, without distinct features?
“I intentionally leave my figures’ faces anonymous and featureless,” says Jordan Watson, “because I want the viewer to feel as if they can step into the painting. When you see a clearly defined, well-painted face, the story becomes someone else’s—their life. When the figure is faceless, it opens up the possibility for the viewer to identify with that moment, to feel it is their reality or their dream.
The sports I depict represent spaces where Black participation has historically been limited. By placing Black figures in these environments, I’m creating a visual narrative of inclusion, joy, and excellence. It’s not just about representation but about granting an additional possibility. I want people to look at these paintings and see themselves breaking barriers, thriving in situations that once seemed off-limits.”
As an artist, Jordan Watson chose the canonical medium of painting to express a message that calls for change in the Black community. How does he approach drawing and color? “Drawing and color are fundamental to everything I create. Drawing is where my ideas take shape—it’s like laying the foundation of a story. It’s a rough, instinctive process that lets me explore and experiment without overthinking. That’s where much of the emotion and energy driving my work are born.
Color is where emotion takes form. It’s how I communicate mood, strength, and intent. I think about how color can trigger instinctive reactions: a strong gold can feel luxurious, or a deep blue can be reflective and calm. Color is also a way to pay homage to my influences and cultural heritage. I grew up surrounded by graffiti and skateboard graphics—those vibrant palettes still influence my approach to painting.
Through drawing and color, I can tell both personal and universal stories. They are the tools I use to invite people into a world where Black excellence, joy, and possibility take center stage. Painting is my medium of choice because it’s timeless, but it’s through drawing and color that the message comes to life.”
Technology has always been a domain in which Afrofuturism envisions a prosperous tomorrow for the Black community. In relation to his platform @love.watts—founded in 2010, now with 2 million followers—how does Jordan Watson relate to the digital sphere?
“Technology has always been a tool to explore new possibilities, especially in Afrofuturism. It’s not just about the tools themselves; it’s about using them to build new narratives and create access where there once was none. When I started @love.watts, I saw the digital space as an open platform where art could reach people directly, bypassing traditional filters. That was meaningful for me, especially since I come from a background where I wasn’t exposed to much art.
Even today, I see the digital sphere as an extension of that vision. It’s a place where creativity and connection meet, where we can showcase our work, exchange ideas, and inspire each other on a global scale. Platforms like @love.watts have evolved into spaces where artists—especially Black artists—can be seen, celebrated, and supported in ways that weren’t always possible before.
For me, the digital world is not just about consumption but about creation and curation. It’s a tool to shape culture, challenge perceptions, and, above all, give others the opportunity to dream big. That’s how I see it now: an arena of endless potential for building a better future.”
Today, the digital divide leaves 2.7 billion people without adequate internet access, especially in Africa. While Jordan Watson has a hopeful view of digital potential, we might wonder if the artist has also considered possible limitations in accessing the information shared through his platform, which aims for more economically and culturally inclusive, widespread art.
“The digital divide is a real barrier. I’ve always been aware of that along my journey. Even though platforms like @love.watts have allowed me to reach millions of people, I know that internet access—and consequently access to art, culture, and opportunities—is still a privilege for many. One limitation I’ve noticed is the disparity in representation in digital spaces. Even with access, visibility for artists and voices in less digitalized communities, or in countries where internet access is not as prevalent, can be lacking.
It’s both a challenge and a call to action. For me, it’s about using the tools I do have to amplify voices and encourage connections, while being mindful of those who still need to be included in this global conversation.”
According to Watson, “the digital community has created spaces where people with shared interests and ideas in the arts can connect with each other. It’s given artists and creatives the ability to bypass traditional gatekeepers and reach audiences directly—which is very powerful. This sense of community, in which people discover, share, and support each other, feels real to me. It’s one of the reasons I founded @love.watts.”
When talking with Jordan Watson, the concept of community emerges as a cornerstone of his artistic research. How does he perceive the transition from participating in a digital community to finding a place in the contemporary art system? Can we always speak of a community, or rather of a cultural industry following market logic that can exploit certain sensitive themes?
At the same time, the world of contemporary art—and even digital platforms—can yield to market forces. Issues such as identity, ethnicity, and inequality, which are deeply personal and delicate, can sometimes be commodified when filtered through systems that prioritize profit or hype over authenticity. It’s a precarious balance, and as someone who navigates both arenas, I try to be mindful of this tension.
“The goal is to stay rooted in the work itself and in the conversations it prompts. Whether we’re talking about a digital community or the art world, the focus should always be on creating spaces where meaningful dialogue and genuine connections can happen. When that element fades, it feels less like a community and more like a marketplace. We must constantly question our intentions and remain aware of the power dynamics at play.”
A self-taught artist, curator, and digital entrepreneur, how does Jordan Watson reconcile these different aspects of his career, and what role does painting play in his daily life?
“These facets feed each other and all stem from the same place: a love for creativity and a desire to connect with others. Curating @love.watts taught me to look at art broadly, and that deeply influenced my own painting. Likewise, my entrepreneurial ventures push me to think beyond the canvas and find ways to make art more accessible to people who, like me, didn’t grow up with it.
Still, painting remains the core. It’s what grounds me. It’s where I can explore, reflect, and create without filters or expectations. It’s part of who I am. I make time to paint every day, even if it’s just for sketching or experimenting with ideas. It keeps me connected to why I started this journey and reminds me that my first responsibility is to create.”
In the 1993 essay Black to the Future, cultural critic Mark Dery coined the term Afrofuturism to define a set of forward-thinking ideas drawn from interviews with three distinct figures: social critic Greg Tate, science fiction writer Samuel Delaney, and music scholar Tricia Rose. Their thinking helped create a broader notion of Black community, rooted in a sensibility that might otherwise have stayed confined to the music scene—often associated with pioneers like Sun Ra and George Clinton. Thirty-one years later, we may wonder if the motivations behind this movement have changed. What remains of Mark Dery’s work, and what has evolved?
According to Jordan Watson, “Afrofuturism has always been about creating a new narrative—one in which Black people don’t just exist but excel without limits. In the 1990s, that was revolutionary, albeit still somewhat niche in music and literature.
Today, the exciting part about Afrofuturism is that it’s become universal. It’s not just about art—it’s an energy. It’s about using technology, innovation, and imagination to open doors for Black people and rewrite the future. It’s not just ‘for us’ anymore; it’s something everyone can see and feel. The heart of Afrofuturism hasn’t changed. It’s still about freedom. Again, it’s about dreaming beyond the boundaries the world tries to impose on us.”
Watson continues: “Contemporary artists are building on those foundations and bringing entire movements to life. They’re showing that the future is ours, doing so with a level of creativity that can’t help but inspire.
Artists like Toyin Ojih Odutola and Jonathan Majors are pushing the boundaries of Afrofuturism in significant ways. Toyin creates intricate, layered portraits that explore identity and the possibilities of alternative Black realities, using texture and storytelling in surprising ways. Jonathan Majors, through his standout performances, embodies complex, futuristic characters—blending strength and vulnerability in ways that redefine representation on screen.”
At Via della Spiga 1, Milan, Robilant+Voena has recently opened a new Milanese space. The gallery inaugurated its program with a Jordan Watson solo show, titled Octavia’s Butler. It’s a crucial name in the Afrofuturist canon and that of the most celebrated African American science-fiction writer.
Jordan Watson first encountered Octavia E. Butler’s work through one of her most renowned texts, which merges time-travel themes with the slave narrative genre. How did the writer’s thinking influence his artistic approach?
“I discovered Octavia E. Butler thanks to my sister—a talented portrait artist and lawyer who loves literature. She suggested I read her 1979 novel Kindred, and I was blown away. Butler’s ability to fuse history, identity, and science fiction changed me: it wasn’t just about imagining the future but about understanding the past in order to shape it.
When I was organizing my first show in R+V’s new Milan gallery, paying tribute to her felt natural. Butler’s work focuses on possibility, resilience, and reimagining what’s possible for the Black community: the same themes I explore in my art. This show is my way of paying homage to her, honoring both her vision and the inspiration she’s given me.”
Jordan Watson is part of the Ultra Contemporary Afrofuturism movement, alongside Rick Lowe, Mark Bradford, Nathaniel Mary Quinn, Tschabalala Self, and Noah Davis. How did this group come together?
“What unites us is a shared focus on creating works that redefine narratives around identity, culture, and the future of the Black community in the United States.
We each come from different backgrounds and perspectives, but what links us is the drive to push boundaries—whether in materials, storytelling, or in reimagining space. For me, that means painting scenes that celebrate excellence, luxury, and joy in Black communities, while also acknowledging the complexities of our history.
There’s an energy, a collective conversation, happening in contemporary art right now. It’s about moving forward—honoring the past and building new visions for the future. That’s what makes it feel like a movement, even though each of us pursues our own path.”
Historically, art movements tend to start with a manifesto, yet Ultra Contemporary Afrofuturism doesn’t seem to have one. Perhaps it’s more accurate to call it a current. This group of artists seems to prefer an open dialogue on certain themes that aren’t formalized in writing. It may reflect their intellectual diversity and, at the same time, exemplify the decline of the written word—beyond the chatter on social media—in art.
“Ultra Contemporary Afrofuturism doesn’t have a formal manifesto, at least not yet. It’s more of a living, evolving conversation grounded in the creativity, resilience, and innovation of the Black community. Every artist involved brings their own perspective, and together we’re shaping something dynamic that mirrors the historical moment we’re in.”
Watson clarifies, “If a manifesto were to be written, it would need to address the complexities facing the Black community today: systemic inequality, inadequate representation, and limited access to resources. It would also have to celebrate joy, success, and the power of imagination. It wouldn’t be solely about resistance but about prosperity, dreaming, and creating new realities.
The beauty of this movement lies in not being limited to a single voice or vision. It’s about embracing individuality while collectively rethinking the future of Black people—in art and beyond. Maybe the manifesto hasn’t been written yet, but in a way, each piece we create contributes to it.”
Jordan “Watts” Watson (Jamaica, Queens NYC, 1979) is a multimedia visual artist and self-taught curator. His new exhibition—Easier to Breathe—organized by Robilant + Voena, is on view until March 6, 2025, at the Protestant Church of St. Moritz.
ISSUE NO. 31
Lampoon is a cultural magazine.
Culture today means sustainability – in its honest meaning.
Culture has always been about human respect, tolerance. It’s not only about accepting human diversity but it’s about searching for the beauty of every human peculiarity.
Inclusion is the first value that defines art. Culture today means one thing only: to be part of a community, to think as a community.
Reading Lampoon, you see that these themes are smoothly aligned. A good part of the articles’ content discusses practices to restore our environment and stories about understanding the others.
Reading Lampoon, you find a dialogue between science and creativity. From sharp and edgy photo sessions to fashion, architecture, technology – the commitment is dedicated to a future that is all about us – together.
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