Initiated in 1996 by the Republic of Senegal and the Ministry of Culture and Communication, Dak’Art, the Dakar Biennale, is the first major international art event dedicated to the Contemporary African creation. This year marks the 12th edition of the event, and will take place from May 3 to July 11, 2016 under the title ‘The City in the Blue Daylight’, a name given to it by the Artistic Director Simon Njami.
1:54 Contemporary African Art Fair, a leading transnational platform dedicated to promoting Africa and African-related art practices and projects, will return to New York from May 6 - 8, 2016, with press and collector previews on Thursday, May 5, 2016. The second U.S. iteration of the fair will take place at the 25,000 square-foot manufacturing warehouse Pioneer Works in Red Hook, Brooklyn, where the New York edition of 1:54 launched in 2015, and will coincide with Frieze Art Week.
This edition, hosted at the AVA Gallery in Cape Town, follows on previous such exhibitions, where Skattie presented the works of then largely unknown artists Laura Windvogel, Unathi Mkonto and Thania Petersen, all of who have gone on to become acclaimed artists in their own right.
Patricia Caille teaches in the Information-Communication department a the University of Strasbourg. As an academic she has coordinated multiple research projects in relation to Maghreb cinema, co-organised two conferences for Panorama de cinémas du Maghreb et du Moyen Orient and recently took part in a roundtable at Carthage Film Festival. ART AFRICA spoke to Patricia about the history of cinema in North Africa, the European lens, and the importance of festivals such as Carthage.
'Human labour seems to be mutating into a service industry, as does love in an age of overt sexualisation. Are labour and love, generous and dangerous as they can be, virtues? Or are they out of fashion?' writes Marie-Hélène Gutberlet on the current exhibition, 'A Labour of Love' at the Weltkulturen Museum in Frankfurt.
Admirers of Irma Stern living in Cape Town will have a rare opportunity to view the important painting, Portrait of Freda Feldman in Basotho Hat, before it goes under the hammer at a Strauss & Co auction in Johannesburg on 23 May 2016. The painting will be on view at the artist’s former Cape Town home, The Firs, now the UCT Irma Stern Museum, on 4 and 5 May (Wednesday and Thursday) between 10am and 5pm.
In conjunction with this preview, Strauss & Co Art Specialists are running an Art Valuation Day at the Museum, to raise funds for the museum. Members of the public are invited to bring their artworks to the museum to be valued.
Nearly thirty artists from across the continent have already come on board by donating artworks for auction at the Amref Health Africa ArtBall to be held in New York on Wednesday the 8th of June 2016. The works have been donated to the #AmrefArtBall in order to help raise funds for Amref Health Africa's innovative grassroot programmes that span across thirty-five countries and touch millions of people throughout sub-Saharan Africa every year.
Two concurrent, intersecting exhibitions are set to open this evening at the Njelele Art Station in Harare, Zimbabwe: 'Indlovukazi,' by Buhlebezwe Siwani, and Sikhumbuzo Makandula's 'In Search of a Nation,' in collaboration with Moffat Takadiwa. ART AFRICA spoke to Makandula about his performance, the origins of the exhibition, and the personal and post-colonial narratives that connect these artists and their respective practices.
Anna Roussillon is a filmmaker and academic. Born in Beirut and raised in Cairo, she currently teaches in Lyon, translates literary texts and participates in radio programmes while working on various film projects related to Egypt. Je Suis Le Peuple, her first feature documentary, follows the story of Farraj and his family, and was given the top award at the Jihlava International Documentary Film Festival. It also received the Grand Prix Janine Bazin for Best Feature Film at Entrevues Belfort Film Festival and is part of the ACID (Association du Cinéma Indépendant pour sa Diffusion) programme at Cannes.
"Specialisation, while allowing for focus and the acquisition of knowledge, comes at a price. One loses a holistic sensibility. One loses the sense of the interconnectedness of disciplines and indeed, of knowledge itself. In this light, the innovative art, design, technical know-how and educational potential that ‘African Robots’ offers is pertinent, not simply conceptual," writes Danny Shorkend, following the exhibition 'African Robots' at the MUTI Gallery earlier this year.
The Inaugural Amref Health Africa ArtBall is a premier contemporary African art auction and philanthropic event being held on Wednesday, 8th June, 2016 from 7-10PM at 159 Bleecker Street in New York City. To date nearly thirty artists, including the likes of Solly Cissé (Senegal), Michael Soi (Kenya), Paa Joe (Ghana), Tahir Carl Karmali (Kenya), George Lilanga (Tanzania) Wiz Kudowor (Ghana) and Saidou Dicko (Burkina Faso) have generously donated their artwork to the #AmrefArtBall in an attempt to raise funds for Amref Health Africa's innovative grassroot programmes, which span across thirty-five countries and touch millions of people throughout sub-Saharan Africa every year. If you're a South African artist and would like to be a part of this breakthrough event, this is your opportunity.
Cynthia Becker reviews Hassan Hajjaj's recent exhibition, 'My Rock Stars,' which ran until 6 March 2016 at the Worcester Art Museum in Massachusetts. 'The commercial feel of his work should not detract from the seriousness of his artistic mission,' writes Becker, 'His photographs can be characterised as a reflection on transnational diaspora communities, capturing the innovative cultural and aesthetic forms immigrants have created in their new homes.'
After the 2015 Paris Climate Conference, artist Kai Lossgott reflects on experimental communal practices, social art projects and effective mobilisation in defiance of disaster fatigue.
In 1960, Mali gained its independence, but photographer Malick Sidibé (1936-2016) maintained that music was the real revolution of the era. Across the capital of Bamako, young men and women went out of their way to energetically and radically redefine themselves by embracing world youth culture, especially rock 'n roll music, fashion and more liberal attitudes. In an interview with The Guardian in 2010, Sidibé explained, "We were entering a new era, and people wanted to dance. Music freed us." At this time, Sidibé emerged as the ‘eye of Bamako,’ capturing the youthful exuberance of his compatriots on his Kodak Brownie (crucially equipped with a flash) as they danced up close to each other, wore bell bottom trousers, rode motorbikes or posed with their Jimi Hendrix records. In so doing, Sidibé produced images of an Africa that hitherto did not ‘exist’ in the eyes of the west.
Buhlebezwe Siwani, Cape Town-based artist and member of the iQhiya collective spoke to ART AFRICA about her practice, the relationship between the individual and the collective, and the deeply liminal subtext that surrounds her work.
On the anniversary of its independence day – the 6th of March – Ghana marked its growing cultural autonomy with the launch of Gallery 1957, its first commercial contemporary art space.
Last Saturday (9th April) Ana Teresa Fernandez, members of Border Arte and various community members took to painting out the Mexico/US border along Agua Prieta, Juarez, and Mexicali. This intervention forms the third 'Borrado La Frontera' intervention since 2011, a reaction to the physical and emotional divisions created by the border.
The art scene in the United Arab Emirates has seen unprecedented levels of growth, enstablishing this region as an important place in the global contemporary art market. This is particularly clear in the capital Abu Dhabi, as well as in Dubai and Sharjah. In just a couple of years, the UAE has become one of the must-see global art hubs. Impressive museums, galleries, art institutions and foundations are mushrooming. The scale of art commerce – gallery sales, auctions and direct studio sales – is noteworthy, however, the scene is certainly more sophisticated – and its history and development is more layered than what can be read in short Tweet-like statements.
‘CODE’ at The Mojo Gallery (Dubai) juxtaposes the work of Cheikhou Ba (Senegal) and Serwan Baran (Iraq), two artists hailing from different continents and living across cultures. The exhibition brings forth two antagonistic views of the world. Contiguous in their underlying meaning, this results in a creative dialogue about the mystique of life.
At the beginning of her speech, Zethu Matebeni thanked performer Khanyisile Mbongwa for making the podium a comfortable space, for the first time. The performance by Mbongwa, preceding this speech, was titled Umnikelo Oshisiwe (a burnt offering). It was comprised of chants, repetitions of parts of prayer, whistling, a song in Xhosa and the donning of traditional headdress coupled with a symbolic disrobing. Afterwards, Jay Pather described it as a troubled purification.
This sense of unearthing and purification with the aim of transforming criticality and opening up academia and the cultural sector is what characterized the launch of The Institute for Creative Arts (ICA) on Tuesday evening, 5th April 2016.
The relationship between politics and art is not new. A uniquely human endeavour, the scope of artistic practice extends into all fields, an impulse that jumps from one synapse to the next. If anything, art highlights the connections between things — their similarities, their contradictions, their feeling. If we can think it, we can communicate it, and, naturally, it is the things that affect us most that we feel the need to communicate. Provided we have a receptive, open platform, and a will to do so.
Amirah Tajdin is a film writer, director and co-founder of THIRTY SEVEN films. Currently based in Dubai, Tajdin’s work has received the Jury Special Mention awards at the Zanzibar International Film Festival and Film Africa London. Her co-directed short, Marea de Tierra (2015) premiered at the Cannes Director’s Fortnight as part of the Chile Factory Residency. She is currently writing her first feature film, Hawa Hawaii, set in the Swahili community of Mombasa, Kenya. Daniel Hewson spoke to Tajdin about her practice and the difficulty of independent filmmaking.
"Those who pursue art as a profession and aspire to a successful career are subject to coercion by the power and benevolence of the West into producing something that does not pose any threat to the structures of Western institutions and their philosophical underpinning," writes Valerie Kabov.
When it comes to communication, film is arguably one of the most universal mediums. Its universality is in the language – be it the visuals, soundtrack, dialogue, or a combination of these elements – which can speak to anyone, anywhere. These familiar, sensory moments reach beyond one’s conscious understanding of the world. They create a brief window of opportunity in which empathy thrives. An event like the Carthage Film Festival − which took place in Tunis between the 21st to the 28th November 2015 − brings together a wide variety of films from across the globe, providing a platform for local and visiting audiences, not only to engage alternative world views, but to recognise them and, perhaps, make them their own.