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Editorial: The Politics of African Contemporary Art
How can African art retain a political agency once it has become part of the global contemporary? -
Of needs and blessings
When Billie Holliday wrote God Bless the Child, I do not think she could have imagined it becoming an anthem for the disenfranchised. Being in control of means matters greatly when considering representation and self-actualisation. -
I'll have a project
Why promote contemporary African art as contemporary African art? Doing so means to have a project, and the constant elements which characterize contemporary African art deeply relate to the essence of projects. -
Dada Masilo – Yinka Shonibare: Upending the Classics.
Both Yinka Shonibare and Dada Masilo commit themselves to erasing the dichotomous relationships that underlie the history of arts and cultures as these tend to be conceptualised in the West. -
Umbrellas and Sewing Machines
Whether as a scaffold on which the wrongs of the past might be brought to account or as a temporary shelter housing the Neverland imaginings of valuable dreams that suddenly go missing, the exhibition as a common locus has become more and then less, and then more, a matter of concern in post-apartheid discussion. -
Discovering William Kentridge
Understanding politically engaged contemporary African art from a distance and how it may raise awareness about personal politics of location -
IN/ FLUX
How to develop innovative ways of supporting, exhibiting, reading, writing, seeing and spreading the word about the creative diversity of a continent and its diasporas? Three women have come together in an undertaking that seeks to address these and related questions through the curatorial platforms of SPARCK and LOWAVE. -
How to conjugate?
Taking contemporary African arts practice as my point of departure, I suggest the mythology of Drexciya as a tunnel for research to understand ways of deciphering philosophical concepts of self, encounter, nation and transformation.
