Kenya’s up-and-coming artists are increasingly finding spaces outside of the conventional galleries to exhibit their art. Crossing borders & breaking moulds: Margaretta wa Gacheru writes about Kenya’s burgeoning art scene.
Cameroonian art critic & curator, Nadine Bilong, explores the curious gaze of the hunter-gatherer, survivalist aesthetics, as well as the paradox of waste as presented by performance artist, Kai Lossgott, in his work Hunter-gatherer.
The rise of African contemporary art in the international gaze has been more than well documented. But the enthusiasm, has overshadowed an analysis of how this interest has affected the ecology of the African art sector as a whole. While international interest is powering ahead it does so in the context of art infrastructure and gallery sector on the continent largely under supported and under-developed and local markets only beginning to emerge. As a consequence, the international market interest to date has been largely benefitting individual artists represented by international galleries, with trickle down economics working the same way as they do elsewhere to support the growth and economic sustainability of the local art sectors. We see this at forums such as 1:54 African contemporary art fair, where even in its present 4th edition only 16 out of 40 participating galleries are based on the continent.
The task of exploring a thousand years of a country’s history in one exhibition – particularly one with as contested a history as South Africa – is not an easy one. Yet the British Museum has managed to create an exhibition that is informative and well curated, offering new and surprising insights even for a South African audience. ‘South Africa: the art of a nation’ is a thoughtful journey through the artistic history of the country, from as far back as three million BP through to 2013. While you might think an exhibition of this scope would take the form of a purely chronological curatorial structure, Chris Spring and John Giblin’s sensitive juxtaposition of contemporary work with ancient art objects creates a lively conversation between past and present work.
"At any given moment in time, as I work on a piece, events are unfolding around me, and are a part of my life, the studio and my practice – the Arab/African Spring is one example. I had the news on constantly as I was painting. This all finds its way into my work; to embrace the various histories, contradictions, and complexities; to mash them up, bind them and maybe find the breaks."
One of our favourite interviews this year, ART AFRICA had the privilege of sitting down with Zimbabwean artist Misheck Masamvu during his exhibition 'STILL STILL,' which was on show at the Goodman Gallery, Cape Town between the 15th September to 20th October 2016.
ART AFRICA had the opportunity to sit down with Ugochukwu-Smooth Nzewi (Curator of African Art at the Hood Museum, Dartmouth College), during his visit to the Center for Curating the Archive in Cape Town earlier this year. Here we learn about Nzewi's curatorial practice, in particular his ideas surrounding 'spaces of familiarity,' and the significance of contextual curatorial practice.
In the lead up to the exhibition 'Africans in America' at the Goodman Gallery, Johannesburg, ART AFRICA caught up with participating Chilean artist Alfredo Jaar. In this interview, Jaar talks about his architectural background, his introduction to Media, and the tragic consequences of global indifference.
One cannot contemplate the concept of ashes and dust in relation to the arts and not talk about the recent sharp-turn taken by one of the most contemporary South African collagists, John Vusi Mfupi. Those who have studied and familiarised themselves with Mfupi’s work over the past decade or so, would agree that he is no longer collaging but shepherding the lives of those depicted in his work from dark flames and ashes into the public view. Over the past two years he has perfected the art of using ashes to give greater resonance to the stories he tells.
For its end-of-year ‘Summer Show’, Goodman Gallery Cape Town has gathered together a selection of important pieces from both new and existing bodies of work. Taken as a whole, the show presents a textured and vibrant series of engagements with the artists’ social and political environments through photography, sculpture, drawing, prints and video. The exhibition serves as an opportunity to show works not yet seen in Cape Town, and to introduce visitors to artists newly represented by the gallery.
With the presence of both local and internationally invited experts, the Addis Foto Fest Conference is a platform to discuss the development of photography in Africa and beyond its borders. Participating panelist Francis Falceto is the author of Abyssinie Swing: A Pictoral History of Modern Ethiopian Music and winner of the BBC World Music Award (2008). His collection of photography from Ethiopia's jazz scene dates back to the 50s, providing a fresh perspective on the often reductionary nature of representation.
Quaid Heneke and Angelo Valerio are not simply close friends, but describe themselves as sisters. Years before they were born, both of their mothers lived in Kensington, a Northern suburb in Cape Town that was classified as ‘Coloured’ during the Apartheid Group Areas Act. While Valerio grew up in Cape Town, and Heneke in East London, they met online before connecting in person. Remembering seeing Heneke for the first time, Valerio recalled thinking, “Who is this beautiful person? I was still in high school, and I had never seen anyone like Quaid in my life.”
Harare Conversations is an ongoing discursive platform that is part of the National Gallery of Zimbabwe’s educational programme. Held on October 14th, 2016, ‘Harare Conversations: Videonomad Harare Iteration Talks’ formed part of a larger initiative orchestrated by the National Gallery, Njelele Art Station (Harare) and Videonomad (Berlin), an independent project that aims to provide an alternate platform for African artists, both within the continent and abroad. Founded by Tobi Ayedadjou in 2013, Videonomad have worked as far and wide as Kalamata, Pesaro, Bahia, Tunis, Tokyo, and Dakar.
Moderated by Lucia Nhamo, this panel discussion included artists Berry Bickle, Bogosi Sekhukhuni, Simon Gush, Tabita Rezaire, and Mario Macilau. This discussion touches on a wide range of themes, by looking closely at the processes of production, their intended outcomes, and the many concerns born from their respective contexts as individuals working with a similar but varied set of tools, each to their own end.
"One hundred and twenty-six photographers from all over the world poured their hearts and souls into the creation of stories, documentations, and expressions that depict meaningful fragments of the places, memories, and spaces with which they identify," writes Ainslee Alem Robson on the upcoming Addis Foto Fest, set to take place between the 15th - 20th December, 2016.
ART AFRICA had the opportunity to sit down with performance artist Athi-Patra Ruga just before his performance at the 2016 Performa Gala in New York. In this interview Ruga talks about his avatars, the performing body, and his artistic practice.
Nijdeka Akunyili Crosby encourages you to keep looking; the more you gaze at her works, the more layers of materiality and meaning are revealed. Initially they seem fairly self-explanatory, intimate domestic scenes in seemingly generic middle-class rooms, some empty, others occupied. The colours are flat and the people stylised, somewhat reminiscent of Congolese artist Cheri Samba’s comic-style portraits (albeit a softer, more painterly version). The works draw you in with the layers of photomontage and collage. Woven into the figures and surrounding rooms, these layers disrupt the perspective between the three-dimensional rooms depicted and the two-dimensional picture plane they are depicted on.
Expressive, hard-contoured figures and airy, dream-like surroundings; strong compositions depicting cruel and tragic episodes; fairy-tale-like representations of genuine land and cityscapes showing gentle and often chubby protagonists; geometric abstract paintings and compact, tribal art-inspired sculptures; small, individual works and large-size compositions where numerous pieces add up an extensive assemblage. The reader might think that I am writing on a group show with several participants. However, it is all about one exhibitor: Kamal Youssef, a prominent figure of twentieth to twenty-first century Egyptian art.
ART AFRICA magazine is pleased to announce this exciting event, which is certain to make a considerable contribution to the development of contemporary art from Africa and the diaspora. As an introductory note, we are thrilled to announce our illustrious line-up of international curators for this inaugural event, which will take place between the 24th February - 5th March, 2017 at the V&A Waterfront in Cape Town.
In Context,’ is an ongoing programme of exhibitions, lectures, and artistic interventions in Johannesburg, we speak to Hank Willis Thomas about relevancy of the exhibition, within the context of the newfound international interest in African art. As well as get his opinion on the differences between race identity in South Africa versus the United States, and his transition from artist to curator.
A group exhibition at EBONY Curated in Cape Town, South Africa showcasing works by Patrick Bongoy, Francois Knoetze, and Mark Rautenbach.
The group exhibition curated by Chandra Frank at Framer Framed in Amsterdam, attempts to open new conversations by addressing silenced trajectories. As the title ‘Re(as)sisting Narratives’ suggests, the exhibition marks a simultaneous attempt to ‘resist’ the prescribed colonial narrative, and through this process ‘assist’ alternate ways of seeing.
'In Context,’ an ongoing programme of exhibitions, lectures, and artistic interventions that began in Johannesburg in 2010 under the guidance of Liza Essers, is set to take place once more with the opening of 'Africans in America' at the Goodman Gallery, Johannesburg this evening. “One of the many ideas that circulated as the project began to take shape, was the dynamics of place and geography (political, social, as well as physical) in reference to the African context – with its many and varied iterations,” explains Essers, who sheds some light on the history, curatorial focus, and aims of the event in this introductory text.
After having to cancel their first art fair and refund all the exhibitors in the wake of the horrific November 13th attacks in Paris 2015, Also Known As Africa (AKAA) has made a massive comeback, as witnessed at the inaugural event this last week. Prior to its opening, ART AFRICA spoke to fair director Victoria Mann to find out more about the curatorial framework for the event and how, with the help of Elisabeth Lalouschek (Artistic Director & Director of Art Sales at October Gallery) and Simon Njami (Artistic Director of the Dak’Art Biennale 2016), they managed to bounce back.
ART AFRICA spoke to Isobel O'Connor in the build up to her solo exhibition 'DEEPER THAN SKIN,' opening this Saturday at Objekt | Design | Art Gallery in Franschhoek, South Africa.
“C’est le regardeur qui fait le tableau.”
- Marcel Duchamp
La focalisation sur l'objet déchet est un moyen d'identifier et d'intégrer l'invisible dans nos commandes d'être. Même dans le déni et la fuite, nous sommes en relation permanente avec ces invisibles inaperçus qui font partie de notre entité. En les rendant visibles, Kai Lossgott nous interpelle sur l'opacité de la transparence.