"Le devoir d'un révolté, c’est de créer de révoltés, de les fabriquer 
en chaine parce-que seuls les révoltés peuvent sortir le monde de l’impasse."
Sony Labou Tansi
"People are trapped in history, and history is trapped in them" 
James Baldwin 
"History is the fruit of power, but power itself is never so transparent
that its analysis becomes superfluous. 
The ultimate mark of power may be its invisibility; the ultimate challenge, the exposition of its roots."
Michel-Rolph Trouillot
"I ask for a history that deliberately makes visible (...) its own repressive strategies and practices." 
Dipesh Chakrabarty 

 Alexia Clorinda is an art historian, cultural critic, photographer, lecturer  and independent researcher.

Her academic background is in ancient languages (Latin, classical Greek, Arabic) and art history; she speaks fluently five languages and has lived and worked in France, Spain, Morocco, Oman, Cuba, Haiti, Senegal and Congo and she’s mainly based in London.

Her research is positioned at the intersection of critical history, visual culture and postcolonial studies, questioning historically and anthropologically the instability of identity, its hermeneutics  from a diasporic, interdisciplinary and dialogic perspective, challenging and transcending ethnicity and nationality;

She undertook field researches in Haiti, Cuba, Brazil, Congo and Senegal focusing on the role of ritual as a counter-hegemonic historical subject ( and  exploring street life  in the context of inequality, discrimination and resistance in post enslaved-societies (,,

She arrived at this project through frustration of being educated in a Eurocentric bourgeois curriculum omitting the questions of class, race and colonialism.

Her intellectual adventures call for a different set of method and vocabularies  informed and envisioned by collaborative work  across chronologies, geographies and practices with both Western, African and Caribbean scholars and by encounters with artists, film–makers and thinkers of all kinds.

She discusses her researches in a variety of environments (universities, foundations, communities, radio, tv, magazines) to overcome the dichotomy between academic/popular culture and education.

 Her last interventions include The body’s reasons at Fokal, Haiti (  Artistic Nomadism at the Rencontres International d’Art Contemporain, Brazzaville in Congo (,  Ritual and Counter-power at the  Institute for Advanced Studies, Paris (, Music and Counter-power in Haiti at Outer-Globe Radio, London (

She believes strongly in Gramsci’s idea of the organic intellectual engaging with cultural possibilities of making as acts of reconfiguration and rebellion to oppose the trespass of capital, the indifference towards inequality and the frontiers of oppression present in education practice.