Podcasts about Contemporary African art

This conversation between curators Ebony L. Haynes, Thomas (T.) Jean Lax, and K.O. Nnamdie was initiated alongside an essay series in e-flux journal titled “After Okwui Enwezor,” edited by Serubiri Moses.  The episode begins with three short audio excerpts from [1] On the Politics of Disaggregation: Notes on Cildo Meireles' Insertions into Ideological Circuits—Parsons The New School for Design  [2] Postwar: Art between the Pacific and the Atlantic, 1945–1965—Fondation Giacometti [3] Art Dubai Global Art Forum 8: 1955–2055: A Documenta Century Exhibitions covered include: Postwar: Art Between the Pacific and the Atlantic, 1945–1965 (2016) and the 56th Venice Biennale: All the World's Futures (2015). Additionally, the idea of rigorous curating, and the horizon is explored in discussion of recent exhibitions including Judson Dance Theater: The Work is Never Done (2018) at MoMA, and Invisible Man (2017) featuring Jessica Vaughan, Kayode Ojo, Torkwase Dyson and Pope.L at Martos Gallery, and Evil N*gger (2025) featuring Glenn Ligon and Julius Eastman at 52 Walker.   The “After Okwui Enwezor” series in e-flux journal reflects on the resounding presence of the late writer, curator, and theoretician. Along with a focus on his many innovative concepts like the “postcolonial constellation,” the series presents a wide evaluation of Enwezor's curatorial and theoretical practice following other similar initiatives, such as the special issue on Enwezor by the journal he founded, Nka Journal of Contemporary African Art. Moving beyond tributes and biography, this series covers topics such as the relevance of Enwezor's approach to politics, the limits of the exhibition as a form for critique, his conception of modernity and writing on the contemporary, his nomadic epistemology, accounts of his biennials in Seville, Paris, and Venice as institutional critique, and the specific contribution of non-Western artists in the art world. Ebony L. Haynes is the curator and Senior Director at 52 Walker, a David Zwirner gallery space presenting longer format exhibitions with primarily conceptual and research-based artists. T. Lax is a curator of media and performance at New York's Museum of Modern Art, where he has co-organized Judson Dance Theater: The Work is Never Done (2018), Just Above Midtown: Changing Spaces (2022) and Ceremonies Out of the Air: Ralph Lemon (2024) among others. Thomas began his career at the Studio Museum in Harlem, where he contributed to the landmark “f show” contemporary art series in 2012 and put together When The Stars Begin To Fall: Imagination and the American South in 2014. K.O. Nnamdie is an artist, writer, curator, and art advisor. Nnamdie ran Restaurant Projects, a curatorial project between 2018 and 2025 based on their interest in the intersection between hospitality and the arts. Nnamdie also directed anonymous gallery between 2021 and 2024.  

Guest: Mpumi Mayisa | Art Curator Imagine walking into a space where every brushstroke, sculpture, and installation celebrates the vibrant spirit of Africa today. That’s exactly what’s happening at the Celebration of Contemporary African Art exhibition! Curated by the talented Mpumi Mayisa, this showcase is a colorful tapestry of stories, emotions, and perspectives that reflect the dynamism of our continent. If you’ve ever wondered what African creativity looks like in its purest, most innovative form, this is the place to be.See omnystudio.com/listener for privacy information.

In this episode, Investec senior wealth manager, Tristanne Farrell, brings Hannah O'Leary, Sotheby's Head of Modern and Contemporary African Art and Pule Taukobong a venture capitalist and avid art collector to gauge the pulse of the African art market. The conversation covers art trends, fairs, sourcing, pricing and diversity. We end by discussing what artists you should be paying attention to. 00:00: Intro 01:20: Introduction of guests 02:16: Is the African contemporary market's boom, about to bust? 05:59: Women are the best selling-African artists 08:37: Lack of diversity in art needs addressing 12:07: The importance of fairs to the art ecosystem 13:09: Young artists who came to the fore through the Investec Cape Town Art Fair 14:58: Reflecting on Frieze London and Emma Prempeh's show 19:59: Another African artist to watch: Pamela Phatsimo Sundstrum 22:02: African art becoming more tactile 26:24: Are record-high prices sustainable? 29:21: How to show proper support to artists: Example of Cinga Sampson 30:57: Where's the best place to source artwork? 31:47: Pule and Hannah tell us which artists are grabbing their attention right now 35:01: The overall health of the African market 36:40: Understanding the potential of the African art market 39:16: Closing and where to subscribe to the series Find out more about the Investec Cape Town Art Fair and buy tickets here: https://link.investec.com/n5va54 link.investec.com · Investec Focus Radio SA

This week on The Art Career Emily sits down in the empty galleries of, Giants: Art from the Dean Collection, with Kimberli Gant, Curator of Modern & Contemporary Art at the Brooklyn Museum.  Kimberly Gant  has curated numerous exhibitions and gallery reinstallations including the Giants: Art from the Dean Collection of Swizz Beatz & Alicia Keys, Spike Lee: Creative Sources (20023-2024), A Movement in Every Direction: Legacies of the Great Migration (2003), and Black Orpheus: Jacob Lawrence & the Mbari Club (2022). Gant received her PhD in Art History from the University of Texas Austin (2017), and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work  in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Brooklyn Museum, the Chrysler Museum, The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. A huge thanks to Swiss Beats and Alicia Keys for understanding the importance of artists supporting artists. @drkimgant⁠ @brooklynmuseum

In this episode, art historian and broadcaster Carrie Scott is joined by Turner Prize-winning artist and activist Lubaina Himid, writer Lauren Elkin and Head of Modern and Contemporary African Art at Sotheby's Hannah O'Leary for a conversation exploring modern city life from the perspective of female artists. This podcast was originally a live event, time to highlight the touring exhibition Found Cities, Lost Objects: Women in the City, curated by Himid, which features works from the Arts Council Collection.  To see the works discussed in this episode, or to watch an extended version of this talk, visit https://www.sothebys.com/en/series/sothebys-talks/celebrating-women-artists-in-the-city-with-lubaina-himid And, to step further into the world of Sotheby's, you can visit any of our galleries around the world; they're open to the public. For more information, visit sothebys.com. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Ep.182 features MICHAELA YEARWOOD-DAN. Throughout paintings, works on paper, ceramics, and site-specific mural and sound installations, Michaela Yearwood-Dan (b. 1994; London, UK) endeavors to build spaces of queer community, abundance, and joy. Yearwood-Dan's singular visual language draws on a diverse range of influences, including Blackness, queerness, femininity, healing rituals, and carnival culture. Moving freely between media, Yearwood-Dan embeds botanical motifs and diaristic meditations within brushy abstract forms and heavy drips of paint. From the monumental scale of her paintings to the more intimate scale of her ceramics and works on paper, Yearwood-Dan's practice frequently reflects an inviting domesticity. Resisting any singular definition of identity, the artist explores the possibilities of creating spaces—physical, pastoral, metaphorical—that allow for unlimited and unbounded ways of being. Lush and brightly hued, Yearwood-Dan's work is at once personal and political. She often engages colors and materials for their symbolic associations—from the hints of the oranges, pinks, purples, and blues of the lesbian and bisexual pride flags mingling through the compositions to the queer histories of the ceramic carnation and pansy petals collaged into her recent paintings. Language intertwines with botanical motifs throughout Yearwood-Dan's work: abstract habitats teem with painted plant life while live houseplants grow out of wall-mounted ceramics. Within the paintings, she inscribes lines of text—pulled from song lyrics, poetry, or her own diaristic writings. These meditations, appearing at various scales and degrees of legibility, are at once insightful and funny, confident, and questioning. Her words beckon the viewer into a vivid, welcoming world of paradox, play, and contemplation formed within an atmosphere of swirling forms and brilliant chromaticity. Yearwood-Dan's work has been shown at the Contemporary Arts Center, Cincinnati, OH; Scottsdale Museum of Contemporary Art, AZ; the Green Family Art Foundation, Dallas, TX; Palazzo Monti, Brescia, Italy; and the Museum of Contemporary African Art, Marrakesh, Morocco, among others. Her work is in the permanent collections of the Hirshhorn Museum and Sculpture Garden, Washington D.C.; Institute of Contemporary Art Miami, FL; the Crocker Art Museum, Sacramento, CA; the Jorge M. Perez Collection, Miami, FL; and the Columbus Museum of Art and the Pizzuti Collection, Columbus, OH. In 2022, she produced her first public mural installation for Queercircle, London, UK. She has participated in a range of fellowships and residencies, including the Palazzo Monti Residency, Brescia, Italy, and Bloomberg New Contemporaries in Partnership with Sarabande: The Lee Alexander McQueen Foundation, London, UK. The artist received her B.A. from the University of Brighton in 2016. Yearwood-Dan lives and works in London. Please visit cerebralwomen.com for her expanded bio. Thank you. Photo credit: Sam Hylton Marianne Boesky https://marianneboeskygallery.com/artists/448-michaela-yearwood-dan/biography/ Artnet https://news.artnet.com/art-world/rising-artist-michaela-yearwood-dans-lavish-flora-filled-visions-make-beauty-political-2291399 Artnet https://news.artnet.com/art-world/studio-visit-michaela-yearwood-dan-2141292 Cultured Magazine https://www.culturedmag.com/article/2021/12/08/beyond-their-lavish-aesthetic-michaela-yearwood-dans-paintings-make-you-feel Flaunt https://www.flaunt.com/post/michaela-yearwood-dan-the-cocoon-issue Culture Type https://www.culturetype.com/2021/10/31/latest-news-in-black-art-michaela-yearwood-dan-joins-marianne-boesky-gallery-colin-powell-portrait-on-display-at-smithsonian-plus-chef-bryant-terrys-new-book-on-art-stories-and-recipes-more/ NEO2 https://www.neo2.com/dior-lady-art-bolsos-moda-arte-lujo/

O Festac'77 foi um festival de artes e afirmação cultural africana realizado na Nigéria, mas não foi um festival no sentido que a gente está acostumado. Foi menos um Lollapalooza, mais algo como as Olimpíadas. Hoje é amplamente reconhecido que o Festac'77, ou "Segundo Festival Mundial de Artes de Cultura Negras e Africanas", foi um ponto de virada na diplomacia nigeriana e sua contribuição à cultura diplomática global. A gente conta o que aconteceu e como ele dá continuidade a um antigo sonho de união pan-africana ensaiado em Festival de Artes Negras em Dakar (1966) e no Panaf da Argélia (1969). Bibliografia: LIVROS Chris Abani. Lagos: A Pilgrimage in Notations. In: Ntone Edjabe & Edgar Pieterse. (ed.) African Cities Reader. Cape Town: University of Cape Town, 2009. p. 1-8. Andrew Apter. Beyond Négritude: Black cultural citizenship and the Arab question in FESTAC 77. Journal of African Cultural Studies, 2015, p. 1-14. Andrew Apter. Festac 77: A Black World's Fair. in: Oxford Research Encyclopedias, African History (online). Alice Aterianus-Owanga. A Pan-African space in Cape Town? The Chimurenga archive of Pan-African festivals. Journal of African Cultural Studies, 2019, p. 1-19. Jonathan Fenderson. Building the Black Arts movement: Hoyt Fuller and the cultural politics of the 1960s. Urbana: University of Illinois Press, 2019. Emmanuel C. Ojukwu & Chuka Enuka. Culture as an instrument of Nigeria's Afrocentric Foreign Policty: the Festac'77 example. Nigerian Journal of African Studies, Vol. 2 No. 1, 2020, p. 59-66.] Arthur Monroe. Festac 77: The Second World Black and African Festival of Arts and Culture: Lagos, Nigeria. The Black Scholar, vol. 9, no. 1, (September 1977), p. 34-37. Ugochukwu-Smooth C. Nzewi & Thomas Fillitz (ed.) Dak'art: The Biennale of Dakar and the Making of Contemporary African Art. London: Routledge, 2021. Alma Robinson. "African Art in Foreign Hands", in: Festac'77. Lagos: Africa Journal Limited, 1977, p. 56-69. Bénédicte Savoy. A luta da África por sua arte (trad. Felipe Vale da Silva). Campinas: Unicamp, 2023. MATÉRIAS DE JORNAL e BLOGS Jonathan C. R et al. FESTAC: Culture, Confusion And Dust. The Washington Post (24/01/1977) Jonathan C. R et al. FESTAC: Upbeat Finale . The Washington Post (14/02/1977) Ernest Danjuma Enebi. 40 Years Later…Why FESTAC still matters. Medium, 15/01/2020 (https://medium.com/@thedanjuma/40-years-later-why-festac-still-matters-87a2a7c4f71d) Benin Kingdom's most symbolic treasure - The Queen Idia Mask. Vervepoints, 29/07/2019. (https://vervepoints.blogspot.com/2019/07/queen-idia-festac-mask.html#more) DOCUMENTÁRIOS e PODCASTS story story (Lanaire Aderemi Productions, Nigeria). Episode 4: Festac'77 (28/10/2021) NKATA: Dots of Thoughts (Nikata Podcast Station, Nigeria). Episode 03: Morrison's Black Book, Chimurenga's Festac '77 - "Unwritable Stories" in a Book Form (29/04/2020) The Sample Axis Podcast (Nigeria). Episode 77. Festac'77 feat Dele Adeyanju (28/05/2023). África: Mundo Novo (prod. Hermano Penna, TV Cultura). 1977 (em 4 blocos).

This episode is also available as a blog post: https://thecitylife.org/2023/04/06/1-54-contemporary-african-art-fair-announces-list-of-galleries-participating-in-the-2023-new-york-edition/ --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

Dr Jareh Das is an independent curator, researcher and writer who lives and works between West Africa and the UK. Das' academic and curatorial practice is informed by an interest in global modern and contemporary art with a specific focus on performance. In 2022, Das curated Body Vessel Clay: Black Women, Ceramics and Contemporary Art an exhibition that spanned seventy years of ceramics and explored how clay has been disrupted, questioned and reimagined by Black women artists. She has written for publications including Ocula Magazine, Frieze, Hyperallergic, Bomb Magazine, Nka Journal of Contemporary African Art and The Art Newspaper.Shade Podcast is written, hosted and produced by Lou MensahMusic generously composed for Shade by Brian JacksonThank you for listening and for supporting Shade - an independent art show highlighting the work of Black art practitioners via Patreon and Ko-fiSee you next time!Shade InstagramShade websiteJareh Das WebsiteBody, Vessel Clay exhibition information Become a member at https://plus.acast.com/s/shadepodcast. Hosted on Acast. See acast.com/privacy for more information.

Ep.134 features Kimberli Gant, the Curator of Modern & Contemporary Art at the Brooklyn Museum of Art. She was previously the McKinnon Curator of Modern & Contemporary Art at the Chrysler Museum in Norfolk, VA, and has also worked as the Mellon Doctoral Fellow at the Newark Museum, and Director of Exhibitions at the Museum of Contemporary African Diasporan Art (MoCADA). She has curated numerous exhibitions and gallery reinstallations including Black Orpheus: Jacob Lawrence & the Mbari Club (2022), Journey's Across the Border: U.S. & Mexico (2021-22), Tuan Andrew Nguyen: The Boat People (2021), Brendan Fernandes: Bodily Forms (2020), and John Akomfrah: Tropikos (2019). Gant received her PhD in Art History from the University of Texas Austin (2017) and holds both a MA and BA in Art History from Columbia University (2009) and Pitzer College (2002). Gant has published scholarly work in academic books, such as Anywhere But Here: Black Intellectuals in the Atlantic World and Beyond (2015), art publications such as NKA: Journal of Contemporary African Art, Art Lies and African Arts, and exhibition catalogues for The Newark Museum, The Contemporary Austin, the Studio Museum of Harlem, MoCADA, Paris Photo, and the Centre for Contemporary Art Lagos. Photo credit: Andar Sawyer Black Orpheus: Jacob Lawrence & the Mbari Club (2022) https://yalebooks.co.uk/page/detail/black-orpheus/?k=9780300263176 Chrysler Museum https://chrysler.org/exhibition/jacob-lawrence/ Brooklyn Museum https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ NY Times https://www.nytimes.com/2022/10/20/arts/design/black-artists-african-art.html University of Texas https://art.utexas.edu/news/dr-kimberli-gant-selected-2022-curatorial-fellow ICI https://curatorsintl.org/about/collaborators/7950-kimberli-gant Artnews https://www.artnews.com/art-news/news/brooklyn-museum-hires-stephanie-sparling-williams-kimberli-gant-1234610507/ Brooklyn Eagle https://brooklyneagle.com/articles/2022/12/07/brooklyn-museums-23-exhibition-schedule-leaps-across-artistic-categories/ C& https://contemporaryand.com/magazines/brooklyn-museum-appoints-stephanie-sparling-williams-and-kimberli-gant-as-curators/ Artadia https://artadia.org/news/join-us-for-art-and-dialogue-new-york-with-kimberli-gant/ Culture Type https://www.culturetype.com/2021/11/18/latest-news-in-black-art-curator-essence-harden-joins-caam-new-curatorial-hires-at-brooklyn-museum-arthur-jafa-guest-edited-i-d-magazine-michael-c-thorpe-and-jammie-holmes-gain-new-gallery-repres/ Africa Center https://www.theafricacenter.org/events/becoming-in-america-a-conversation-with-fitsum-shebeshe-and-kimberli-gant/ The Herald News https://www.heraldnews.com/story/entertainment/2022/01/29/newport-art-museum-biennial-2022-featured-artist-exhibition-view-now/6595612001/ Live Auctioneers https://www.liveauctioneers.com/news/people/brooklyn-museum-appoints-two-new-art-curators/

In this podcast we talk with Steven Adjei, the founding partner of BlueCloud Health, a United Kingdom-based healthcare firm that helps health businesses in sub-Saharan Africa by facilitating investment and financing for viable African healthcare projects and companies. Steven shares with us the struggles BlueCloud faced in its early years and what it took to rejuvenate the business. We also hear about Steven's unique perspective on legacy as well as how he views business partnerships. It's a fascinating and valuable discussion for entrepreneurs and anyone concerned about leaving a legacy.So if you want to know:– About what can go wrong with an entrepreneurial endeavor and the lessons you can learn from these struggles– The three kinds of partnerships and the role each can play in your business– The four kinds of legacies and the one you want to avoid– The phases you need to be prepared for when you start a business– About “red flag” and other types of pain entrepreneurs may face About Steven AdjeiSteven is a British-Ghanaian author, poet, healthcare consultant and entrepreneur. He is the founding partner of BlueCloud Health, which works to form profitable and returnable investments by fostering open, long-term and trustworthy partnerships between prospective investors and bankable African healthcare businesses. Steven is also the author of Pay The Price, Creating Ethical Entrepreneurial Success Through Passion, Pain and Purpose and an award-winning consulting pharmacist who has worked with Britain's National Health Service. Information about Steven, his book and the work his company is doing in Africa and the Middle East is available at www.stevenadjei.com. At this website, our podcast listeners who subscribe to Steven's newsletter can get a free copy of his book, From Gory to Glory, A Collection of Poems, Contemporary African Art, and Photography. About Lois Sonstegard, PhDWorking with business leaders for more than 30 years, Lois has learned that successful leaders have a passion to leave a meaningful legacy. Leaders often ask: When does one begin to think about legacy? Is there a “best” approach? Is there a process or steps one should follow?Lois is dedicated not only to developing leaders but to helping them build a meaningful legacy. Learn more about how Lois can help your organization with Leadership Consulting and Executive Coaching:https://build2morrow.com/Thanks for Tuning In!Thanks so much for being with us this week. Have some feedback you'd like to share? Please leave a note in the comments section below!If you enjoyed this episode, please share it with your friends by using the social media buttons you see at the bottom of the post.Don't forget to subscribe to the show on iTunes to get automatic episode updates.And, finally, please take a minute to leave us an honest review and rating on iTunes. They really help us out when it comes to the ranking of the show, and I make it a point to read every single one of the reviews we get.Please leave a review right now. Thanks for listening!Building My Legacyhttps://businessinnovatorsradio.com/building-my-legacy/Source: https://businessinnovatorsradio.com/episode-244-steven-adjei-on-the-struggles-of-entrepreneurship-and-the-importance-of-leaving-a-legacy-with-lois-sonstegardphd

In this podcast we talk with Steven Adjei, the founding partner of BlueCloud Health, a United Kingdom-based healthcare firm that helps health businesses in sub-Saharan Africa by facilitating investment and financing for viable African healthcare projects and companies. Steven shares with us the struggles BlueCloud faced in its early years and what it took to rejuvenate the business. We also hear about Steven's unique perspective on legacy as well as how he views business partnerships. It's a fascinating and valuable discussion for entrepreneurs and anyone concerned about leaving a legacy.So if you want to know:– About what can go wrong with an entrepreneurial endeavor and the lessons you can learn from these struggles– The three kinds of partnerships and the role each can play in your business– The four kinds of legacies and the one you want to avoid– The phases you need to be prepared for when you start a business– About “red flag” and other types of pain entrepreneurs may face About Steven AdjeiSteven is a British-Ghanaian author, poet, healthcare consultant and entrepreneur. He is the founding partner of BlueCloud Health, which works to form profitable and returnable investments by fostering open, long-term and trustworthy partnerships between prospective investors and bankable African healthcare businesses. Steven is also the author of Pay The Price, Creating Ethical Entrepreneurial Success Through Passion, Pain and Purpose and an award-winning consulting pharmacist who has worked with Britain's National Health Service. Information about Steven, his book and the work his company is doing in Africa and the Middle East is available at www.stevenadjei.com. At this website, our podcast listeners who subscribe to Steven's newsletter can get a free copy of his book, From Gory to Glory, A Collection of Poems, Contemporary African Art, and Photography. About Lois Sonstegard, PhDWorking with business leaders for more than 30 years, Lois has learned that successful leaders have a passion to leave a meaningful legacy. Leaders often ask: When does one begin to think about legacy? Is there a “best” approach? Is there a process or steps one should follow?Lois is dedicated not only to developing leaders but to helping them build a meaningful legacy. Learn more about how Lois can help your organization with Leadership Consulting and Executive Coaching:https://build2morrow.com/Thanks for Tuning In!Thanks so much for being with us this week. Have some feedback you'd like to share? Please leave a note in the comments section below!If you enjoyed this episode, please share it with your friends by using the social media buttons you see at the bottom of the post.Don't forget to subscribe to the show on iTunes to get automatic episode updates.And, finally, please take a minute to leave us an honest review and rating on iTunes. They really help us out when it comes to the ranking of the show, and I make it a point to read every single one of the reviews we get.Please leave a review right now. Thanks for listening!Building My Legacyhttps://businessinnovatorsradio.com/building-my-legacy/Source: https://businessinnovatorsradio.com/episode-244-steven-adjei-on-the-struggles-of-entrepreneurship-and-the-importance-of-leaving-a-legacy-with-lois-sonstegardphd

Dr. Salah M. Hassan is founding Director of The Africa Institute. Hassan concurrently holds positions at Cornell University as the Distinguished Professor of Arts & Sciences in African and African Diaspora Art History and Visual Culture in the Department of Africana Studies and Research Center; in the Department of History of Art and Visual Studies; and as Director of the Institute for Comparative Modernities (ICM). Hassan also served as Professor of History of Art in African and African American Studies and Fine Art at Brandeis University, where he was previously awarded the Madeleine Haas Russell Professorship in the Departments of African and Afro-American Studies and Fine Art. Hassan is an editor and co-founder of Nka: Journal of Contemporary African Art and author, editor, and contributor to numerous other books, journals, anthologies, and exhibition catalogues. Hassan has also curated international exhibitions and Biennials including Authentic/Ex- Centric (49th Venice Biennale, 2001); and 3x3: Three Artists/Three: David Hammons, Maria Magdalena Campos-Pons, Pamela Z (Dak'Art, 2004); among others. He and Zuckerman discussed African Modernism, family preferences, not seeing yourself, resistance, walking, revenge, and loving beauty and humor in art!

Some impressions and highlights of 1-54 Contemporary African Art Fair London 2022. 1-54 is the first and only international art ...

In this dialogue Prof Christo Doherty of ARA speaks to Tracey Rose, currently Senior Lecturer in the Fine Arts department in the Wits School of Arts, and internationally renowned as an artist who works across a range of practices, but most notably as a performance artist using her body. Tracey's work has recently been featured in a major retrospective exhibition at the Zeitz Museum of Contemporary Art Africa in Cape Town. Curated by the new Director of the Zeitz, Koyo Kouoh, the exhibition was called Shooting Down Babylon (The Art of War). The title references one of the works on the exhibition, an installation which reflects on exorcist and cleansing rituals from non-western communities. In this discussion, we look at Tracey's trajectory as a radical artist, activist and provocateur, from her upbringing and early schooling in Durban, and her arts education at Wits where she qualified for a BA in Fine Arts before studying for an MA at Goldsmiths College in London. We touch her on exhibition at the Zeitz Mocaa but go into greater depth into her use of photography and video, both significant aspects of her artistic practice overshadowed in the critical discourse by the dynamic physicality of her performance work. We also discuss the way that she is recognised on the international scene as a black African artist, but how in South Africa that identity is burdened by the still active apartheid definition of “coloured”. We then go some way towards unpacking the paradoxes of hypervisibility and invisibility which afflict an artist such as Tracey who deploys own body as a site for protest, outrage, resistance and pertinent discourse. Finally we explore Tracey's growing interest in the connections between artistic practice, shamanism, and non-Western forms of spirituality as manifested in works such as Shooting Down Babylon. I highly recommend Tracey's audio walk through of her Zeitz exhibition which is available at https://zeitzmocaa.museum/exhibition/exhibitions/shooting-down-babylon/ Also highly recommended is Tracey's address to the Global Feminisms Exhibition in New York in 2007: https://www.youtube.com/watch?v=OX5iLPLWzPM Articles worth consulting: Kellie Jones, "Tracey Rose: Postapartheid Playground". Journal of Contemporary African Art. 29 Summer 2004. Polly Savage, "Playing to the Gallery: Masks, Masquerade and Museums". African Arts 41,4 Winter 2008. Emmanuel Balogum, "Tracey Rose: Shooting Down Babylon". Art Monthly 456 May 2022.

In this dialogue Prof Christo Doherty of ARA speaks to Tracey Rose, currently Senior Lecturer in the Fine Arts department in the Wits School of Arts, and internationally renowned as an artist who works across a range of practices, but most notably as a performance artist using her body. Tracey's work has recently been featured in a major retrospective exhibition at the Zeitz Museum of Contemporary Art Africa in Cape Town. Curated by the new Director of the Zeitz, Koyo Kouoh, the exhibition was called Shooting Down Babylon (The Art of War). The title references one of the works on the exhibition, an installation which reflects on exorcist and cleansing rituals from non-western communities. In this discussion, we look at Tracey's trajectory as a radical artist, activist and provocateur, from her upbringing and early schooling in Durban, and her arts education at Wits where she qualified for a BA in Fine Arts before studying for an MA at Goldsmiths College in London. We touch her on exhibition at the Zeitz Mocaa but go into greater depth into her use of photography and video, both significant aspects of her artistic practice overshadowed in the critical discourse by the dynamic physicality of her performance work. We also discuss the way that she is recognised on the international scene as a black African artist, but how in South Africa that identity is burdened by the still active apartheid definition of “coloured”. We then go some way towards unpacking the paradoxes of hypervisibility and invisibility which afflict an artist such as Tracey who deploys own body as a site for protest, outrage, resistance and pertinent discourse. Finally we explore Tracey's growing interest in the connections between artistic practice, shamanism, and non-Western forms of spirituality as manifested in works such as Shooting Down Babylon. I highly recommend Tracey's audio walk through of her Zeitz exhibition which is available at https://zeitzmocaa.museum/exhibition/exhibitions/shooting-down-babylon/ Also highly recommended is Tracey's address to the Global Feminisms Exhibition in New York in 2007: https://www.youtube.com/watch?v=OX5iLPLWzPM Articles worth consulting: Kellie Jones, "Tracey Rose: Postapartheid Playground". Journal of Contemporary African Art. 29 Summer 2004. Polly Savage, "Playing to the Gallery: Masks, Masquerade and Museums". African Arts 41,4 Winter 2008. Emmanuel Balogum, "Tracey Rose: Shooting Down Babylon". Art Monthly 456 May 2022.

EMERGENCY SUPPORT REQUEST: Sew Hope Community Sewing Room, a Black woman led nonprofit sewing studio was recently damaged by severe flooding: 16 inches of water saturated the newly opened venue. Please donate to the Go Fund Me or directly to the project.  CashApp$SewHopeSTL If financial support is not possible, Sew Hope is accepting donations of machines and fabric. About the episode:Lisa Woolfork is an associate professor of African American Literature and Culture. Her teaching and research explore Black women writers, the fiction of Black identity, trauma theory, and American slavery. She is the convener and founder of Black Women Stitch, the sewing group where Black Lives Matter. She is also the host/producer of Stitch Please, a weekly audio podcast that centers on Black women, girls, and femmes in sewing. In the summer of 2017, she became a founding member of Black Lives Matter Charlottesville. She is active in a variety of university and community initiatives, including the College Fellows Program to reshape the undergraduate general education curriculum.Angela FranklinWith a BA in Art from Xavier University in Cincinnati and her MFA from Bradley University, Angela Franklin-Faye has exhibited her works both throughout the US and internationally.She has lived abroad since 1997 and, since 2007, has divided her time between Senegal and the United Arab Emirates. This international experience has resulted in a body of work that has encouraged her to chronicle the experiences of people from the diaspora worldwide. Her works are presently featured in the national exhibition of Contemporary African Art for the 13th DAK'Art Biennale, along with the Dialogue in Black and White Exhibition at the Charleston City Gallery.  In addition, Paris Sorbonne University Abu Dhabi, The Art Hub-Abu Dhabi, The Renwick Gallery - Smithsonian Institution, Ohio Craft Museum, and Musee Boribana - Dakar are just a few spaces that featured her work. Works by Franklin-Faye are in the corporate collections of Atlanta Life Insurance Company, The NationsBank, Arco Chemical, and Household Finance. In 2013, she earned a second Master's Degree in Online Education and Leadership Management and credits this with having an even greater impact on her artwork. She is the owner of Chez Alpha Books - a bookstore and academic resource center in Dakar, Senegal.Insights from this episode:Angela's beginning of her sewing journeyAngela's adaptability to the fashion and fabric worldHow she has been able to thrive as an artist based on her geographyInsights into her study of art at Xavier UniversityInsights into slavery and black history in regards to Ohio/Kentucky borderInsights into the stained glass initiativeQuotes from the show:“I made a rule that if I am going to be here, let me find a fabric that is found here, let me not rely on African fabric in the Pacific Island, or if I am in the Middle East, let me rely on the fabric that I find there” -Angela Franklin in “Stitch Please”“It's really incredible because what that [adaptability] allows you to do is to both grow as an artist and to be connected to the community in which you are living” -Lisa Woolfork in “Stitch Please”“I used to enamel a lot, do a lot of couple enameling and glass fusing, and my whole passion right now is to go back to it” -Angela Franklin in “Stitch Please”“When I do this series of work, I said to everyone that it's not about the trauma of slavery, it's about the contributions that they made, economically because they would build the prairie” -Angela Franklin in “Stitch Please”“Slavery is not black people's shame. Black people should not be ashamed of having been enslaved. The shame is in white people. The shame is in those folks who could compromise so much of their own beliefs to enact the greatest crime against humanity” -Lisa Woolfork in “Stitch Please”“The stain glass initiative seeks to acknowledge and perpetuate the diversity of experience and reflection that is needed to envision a better common good” -Angela Franklin in “Stitch Please”Stay Connected:Lisa WoolforkInstagram: Lisa WoolforkTwitter: Lisa WoolforkAngela FranklinInstagram: Angela Franklin Facebook: Angela Franklin 

In Part 2 of episode 4, Building New Forms of Knowledge, I'm talking with Bill Gaskins. After interviewing both Kelly Walters and Bill Gaskins, because of the depth of what each shared, I felt strongly that this was the only way I could do them justice. They each have such powerful voices in the spaces they occupy through their practices and as educators, curators, writers, and in pushing forward new knowledge and learning. Bill is the founding director of a new program, Photography + Media and Society, at MICA, Maryland College of Art, in Baltimore, Maryland. Bill discusses why he chose to leave the Fine Arts to join the field-based program as an affinity group among Graduate Directors at MICA because the Program is not limited to the white cubes of Fine Art alone. Furthermore he talks about the ways in which his students examine ideas through fine art, fashion, advertising, video journalism, politics, marketing, and other contexts, while fostering radical collaborations in and beyond the MICA community. Then Bill speaks about what it's like for him not just to be a professor, but what it means to be a transformative professor.Find more on Curious Story LabWebsite: Curiousstorylab.comTwitter: @curiousstorylabInstagram: @curiousstorylabEmail me: curiousstory21@gmail.comCredits:Creator & Host: Michele Y. WashingtonProducer: Alicia Ajayi @aliciaoajayiEditor: Angelina BrunoSound Engineer + Music: Roifield BrownFollow us on Spotify or Apple Podcast or wherever you listen to your favorite podcastYou can check out Bill Gaskin's website. billgaskins.comFor more information on the Photography+ Media and Society, program at MICA, Follow him on Instagram: @billgaaskinsBooks:Good & Bad Hair: Photographs by Bill Gaskins, Publisher Rutgers University Pressshort film The Meaning of HopeExhibitions:His work has been featured at these major institutions:  Crocker Museum of Art, Brooklyn Museum of Art, Detroit Institute of Arts, and The Smithsonian InstitutionWritings:Working Together: Lou Draper and the Kamionge Workshop, published by Duke University Press, Out of Place, contributor Bill GaskinsYou can also find many of his essays in these publications: NKA; Journal of Contemporary African Art, Artsy, Aperture, Nature, and The New Yorker MagazineTalks: Art X Activism: Myra Greene X Bill GaskinsKamionge at the Schomburg Black Portraiture (V): Memory & the Archive Past 

On this episode of Showcase, watch: The Gray Man 00:02 Guest: Tony Maglio, IndieWire's Business Editor Top Gun: Maverick 08:52 Digital Art Heist: Looty 10:19 Shortcuts 12:49 Cannes: Triangle of Sadness 16:23 Guest: Alex Billington, President of FirstShowing Dakar Omar Ba 21:16 ABBA-tars Take the Stage 24:04

The world wide connection of mokuhanga is a vast one. Working and living in Cape Town, South Africa; Natasha Norman is a talented artist involved in several types of printmaking. One of those types of printmaking is, of course, mokuhanga. Along with her independent work as a mokuhanga printmaker, Natasha is involved in the Mokuhanga-kai, a group she co-founded with printmaker Oliver Hambsch, where as a group, they attempt to spread the message and ideals of mokuhanga and Japanese culture. In this episode of The Unfinished Print I speak with Natasha Norman about her mokuhanga journey, from MI Lab to her current mokuhanga works. Natasha also speaks on what it's like to source materials for her mokuhanga work while living in South Africa.  Please follow The Unfinished Print and my own print work on Instagram @popular_wheatprints, Twitter @unfinishedprint, or email me at theunfinishedprint@gmail.com Notes: may contain a hyperlink. Simply click on the highlighted word or phrase. Mokuhanga-Kai - website Natasha Norman - website, Instagram University of Cape Town - founded inn 1829 and became a full university between 1880-1900. More info can be found, here.  Jennifer L. Roberts Mellon Lectures -  Contact: Art and the Pull of Print is a series of online lectures dedicated to the art of printmaking and the relationship between the person making it and the essence of the medium. It can be found, here.  Idyllic Colonial Postcards - Natasha speaks on the South African colonial project through idyllic postcards. More information can be found, here via the Library of Congress.  South African Art History - South African art has a long and distinguished history. The Contemporary African Art website has a very good introduction to the history of South African art, here. Some history of the South African modernists, here. Contemporary artist landscape, here.  Black Consciousness Movement - led by anti-apartheid leader Steve Biko (1946-1977), the BCM was a movement which empowered South African black people to believe that they have the power to organize and control their own destiny. More info can be found, here.   Nelson Mandela - (1918-2013) was a black nationalist and the first black Prime Minister of South Africa from 1994-1999. He was jailed from 1964-1990 for his political beliefs, being deemed a threat to the South African colonial government. More information about his life and legacy can be found here, at the Nelson Mandela Foundation.  Rainbow Nation - used first by Desmond Tutu (1931-2021), it is a term used to describe a post-apartheid South Africa, to describe the country as multicultural and as a call for unity of all South African peoples.  South African Biennale - held from February 28 - April 30, 1995, this biennale was hosted by Johannesburg and contained 63 national pavilions and 20 South African pavilions. It was the first biennale held in a post-apartheid South Africa focused on "decolonizing the mind." More information can be found, here. Link to the 2nd biennale held in 1997 can be found, here. Mongezi Ncaphayi - is a South African artist who lives and works in Cape Town. His medium is Indian ink and watercolour on Fabriano. Lots of colour and a very unique perspective. His Instagram can be found, here. His work can be found, here.  South African Printmaking - there is a long history of printmaking in South Africa. From apartheid South Africa to post-apartheid South Africa printmaking has made an indelible difference to the landscape of South African art through resistance and dialogue. More information can be found, here, here, and here.  Printmaking Today - is a printmaking magazine published by Cello Press in the UK and began in 1991.  Embassy of Japan in South Africa - located in Pretoria. Information for the Culture and Information Centre can be found, here.  Japanese Relations with South Africa - Japan has had a long history of relations with South Africa since the 19th Century, with trade beginning in 1910. Although raw material trade began in earnest in the 1960's. For more information on Japan's, at times tenuous, relationship with South Africa look, here. monotype printmaking - a type of printmaking which creates a "painted" type of print. More information can be found by the MoMA, here.  The Printing Girls - is a printmaking collective based in South Africa in which Natasha Norman is a member. More information can be found, here.  Ozuwashi - is a brick and mortar paper store located in the Nihonbashi district of Tokyo. It has been in business since 1653. More info can be found, here. Cameron Bailey - is a mokuhanga printmaker who focuses on reduction woodblock. His Unfinished Print interview can be found, here. website, Instagram.  mokulito - a type of lithography which incorporated woodblock. Artist Danielle Creenaune uses mokulito in her work. She has a fine detailed explanation on its uses, here.   Winsor & Newton - is an artist supply company based in the UK. website. kiaat - is a hardwood, also called muninga. More information can be found, here.  Woodstock, Cape Town - is an old suburb of Cape Town, South Africa known for its shopping and art galleries. More info can be found, here.  Salon Ninety One - a gallery located in Cape Town with a focus on contemporary artists of all mediums. Yoshida Hiroshi (1876-1950) - originally a watercolorist and painter Yoshida started designing woodblock prints for Watanabe in 1920. By 1925 he was designing prints for his own studio. The works which came from his studio were meticulous and masterpieces of the medium in their own right.  Ukiyoe.org has a good collection of Yoshida works. Andy Warhol (1928-1987) was an influential artist and filmmaker who ushered in the genre of art considered "pop art."  Roy Lichtenstein (1923-1997) was another artist considered a part of the pop art movement through imitation. The MoMA has a great description of his work, here.  Benoit Varaillon -  is a mokuhanga printmaker based in France. His interview with The Unfinished Print can be found, here.  William Kentridge - is an award winning South African artist, animator and printmaker. An interesting studio visit with Kentridge can be found, here.  japonisme - is the influence of Japanese art on Western art practices, specifically in Europe of the 19th Century. The  MET Museum has a fine essay on the subject, here.  Waza - is an importer, retailer, and distributor of Japanese goods into South Africa. website  opening and closing credit background sound from the 2021 Mokuhanga Conference, discussing how animals are involved in mokuhanga, and whether we can, as artists, be sustainable.  © Popular Wheat Productions logo designed and produced by Douglas Batchelor and André Zadorozny  Disclaimer: Please do not reproduce or use anything from this podcast without shooting me an email and getting my express written or verbal consent. I'm friendly :) if you find any issue with something in the show notes please let me know. The opinions expressed in The Unfinished Print podcast are not necessarily those of Andre Zadorozny and of Popular Wheat Productions.      

1-54 VIP Webinar | Secondary market for contemporary African Art 2020/2021 7 October 2021 Drawing from Corrigall & Co's latest report, Mary Corrigall will discuss the status of the secondary market for contemporary African art. The findings are based on an analysis of figures from sales that have taken place from January 2020 to June 2021.   As the focus is on gauging the temperature of the African art market only auctions dedicated to the sale of African art were under the microscope. These auctions were conducted in Africa and Europe by the following auction houses; Sotheby's (London), Bonhams (London, New York), Artcurial (Paris, Marrakesh, Piasa (Paris), Strauss & Co (Cape Town, Joburg), Aspire Art Auctions (Cape Town, Joburg), Compagnie Marocaine des Oeuvres et Objets d'Art (Casablanca) and Arthouse (Lagos). Over 9000 lots were analysed. Corrigall will introduce some of the important findings that relate to the contemporary works. Under discussion will be which countries in the African art ecosystem claim the market share for the sale of contemporary works at auction, as well as how the value and what is valued differs in markets in Africa and Europe. A few case studies will be included. For more information on the Contemporary African Art Auctions 2020/2021 visit: https://www.corrigall.org/contemporaryartauctions2020 Corrigall & Co is a Cape Town-based art research consultancy with a focus on mapping art ecosystems in contemporary art from the African continent. It was established in 2016 by Mary Corrigall, an award-winning art journalist and academic. Our research is channelled into bespoke art reports, presentations, workshops and consultations with collectors and art organisations. Previous reports include; South African Art Market: Pricing & Patterns, African Art Auctions, Europe, October 2020, Contemporary African Art Ecology: A Decade of Curating, Top 50 Artists & the Top 20 Curators who validated them and Joburg Art Fairs. www.1-54.com

In this episode of  ‘The Wave', we welcome four special guests from the African art ecosystem, who will discuss how the pandemic has changed their business and the role of galleries in the life of an artist, as well as the issue of the inherent value of African art, including as an investment. Host :  Azu Nwagbogu,  is an independant curator founder Lagos Photo Festival & African Artists' Foundation Speakers : Rakeb Sile, (known as Raku), is a co-founder of Addis Fine Art in Addis Ababa. The gallery is one of the leading ones in Africa and is a prominent international platform for artists from the Horn of Africa. Bimpe Nkontchou,  is a Nigerian entrepreneur. She created W8, a wealth management company based in London. She advises Top African entrepreneurs for art investment.. Welcome Bimpe.  Hannah O'Leary, is a Director at Sotheby's, the London auction house, where she heads the Modern and Contemporary African Art department   Hosted by Ausha. See ausha.co/privacy-policy for more information.

We discussed: - Artists need galleries - his need to learn what a gallery should be - the issues of being outside of the international art market - the art fair circuit - the difference between African artists on the continent and African artists living elsewhere in the world - Contemporary African Art collectors - Repatriation - the need for more museums in Africa - his desire to sell art not artists - no need for artist statements - being in the art world is a long game   4 inspiring artists: Henry 'Mzili' Mujunga - https://www.afriartgallery.org/artists/henry-mzili-mujunga/ Richard Atugonza - https://www.afriartgallery.org/artists/richard-atugonza/ Sungi Mlengeya - https://www.afriartgallery.org/artists/sungi-mlengeya/ Gael Maski - https://ugandanartstrust.org/artists-work/por-maski/   People + Places mentioned: Dakar Biennale - https://biennaledakar.org Venice Biennale - https://www.labiennale.org David Adjaye - https://www.adjaye.com Simon Njami - https://www.at-work.org/en/workshop-leaders-en/simon-njami-workshop-leaders/ 32° East | Ugandan Arts Trust - https://ugandanartstrust.org KLA ART - https://klaart.org Art Joburg - https://artjoburg.com START Journal - https://startjournal.org   www.afriartgallery.org www.kampalaartstrust.org www.kampalabiennale.org     Hosted by Matthew Dols http://www.matthewdols.com   Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org             and we appreciate the assistance of our partners in this project: Hunt Kastner - https://huntkastner.com Kunstsentrene i Norge - https://www.kunstsentrene.no               Transcript available here: https://wisefoolpod.com/transcript-for-episode-158-director-of-the-kampala-biennale-curator-gallerist-daudi-karungi-kampala-uganda/

We discussed: - Artists need galleries - his need to learn what a gallery should be - the issues of being outside of the international art market - the art fair circuit - the difference between African artists on the continent and African artists living elsewhere in the world - Contemporary African Art collectors - Repatriation - the need for more museums in Africa - his desire to sell art not artists - no need for artist statements - being in the art world is a long game   4 inspiring artists: Henry 'Mzili' Mujunga - https://www.afriartgallery.org/artists/henry-mzili-mujunga/ Richard Atugonza - https://www.afriartgallery.org/artists/richard-atugonza/ Sungi Mlengeya - https://www.afriartgallery.org/artists/sungi-mlengeya/ Gael Maski - https://ugandanartstrust.org/artists-work/por-maski/ People + Places mentioned: Dakar Biennale - https://biennaledakar.org Venice Biennale - https://www.labiennale.org David Adjaye - https://www.adjaye.com Simon Njami - https://www.at-work.org/en/workshop-leaders-en/simon-njami-workshop-leaders/ 32° East | Ugandan Arts Trust - https://ugandanartstrust.org KLA ART - https://klaart.org Art Joburg - https://artjoburg.com START Journal - https://startjournal.org www.afriartgallery.org www.kampalaartstrust.org www.kampalabiennale.org Hosted by Matthew Dols http://www.matthewdols.com Supported in part by: EEA Grants from Iceland, Liechtenstein + Norway https://eeagrants.org and we appreciate the assistance of our partners in this project: Hunt Kastner – https://huntkastner.com Kunstsentrene i Norge – https://www.kunstsentrene.no     Transcript available here: http://wisefoolpod.com/transcript-for-episode-158-director-of-the-kampala-biennale-curator-gallerist-daudi-karungi-kampala-uganda/

In this week's episode of the ArtTactic Podcast, we're joined by Bimpe Nkontchou, founder & managing principal of W8 Advisory, a multi-family office and wealth management practice, based in London, focused on high net worth African families. First, we ask Bimpe why there is suddenly increased focus on the contemporary African art scene. Then, she tells us if African high net worth families are viewing contemporary African art as an alternative asset class. Also, Bimpe shares if Africans are beginning to collect art in response to the increased popularity of contemporary African art. Additionally, she explains how vital art patronage is to the African art community as well as the important role established African artists are playing to ensure that emerging artists can develop their practices and careers.

#2 Today, I'm interviewing Alvah Beander, who is a fine art appraiser specializing in Traditional and Contemporary African Art, art by African Americans, including Folk Art and Art by people of the African Diaspora. She is a member of the International Society of Appraisers, the Royal Institute of Chartered Surveyors, and holds an MBA from Marymount University of Management in Arlington Virginia. We were able to record on a significant day – Martin Luther King Day. In this episode,  You will learn: How to value art on all levels, including monetary, societal, and emotional value Observations on artists whose careers have gone from “unknown” to “successful” What can be learned from studying art And much more! Find all the links and show notes at theartelevator.com.

1-54 x Christie's | Collect, Curate, Connect: Insights into Contemporary African Art 6 October 2020 With 1-54 Contemporary African Art Fair's London edition and 1-54 Online, Powered by Christie's, Christie's is hosted a panel with leading experts working within contemporary African art scenes to open its 1-54 pop-up exhibition at the Duke Street Gallery. Join Isabel Millar (Junior Specialist and curator of the 1-54 pop-up exhibition) as she speaks with Pulane Kingston (Collector and member of the Africa Acquisitions Committee at the Tate Modern), Ayo Adeyinka (Director of TAFETA gallery) and Julia Grosse and Yvette Mutumba (Curators and Founding Editors of Contemporary &), to discuss Africa's dynamic art scenes and how to meaningfully engage with and collect contemporary art from Africa and its diaspora. www.1-54.com

Solange Oliveira Farkas nasceu em Feira de Santana, Bahia, Brasil, em 1955. É curadora e diretora da Associação Cultural Videobrasil. Criou o Festival de Arte Contemporânea Sesc_Videobrasil em 1983 e foi diretora e curadora-chefe do Museu de Arte Moderna da Bahia entre 2007 e 2010. Participou como curadora convidada da 10ª Bienal de Charjah (2011), 16ª Bienal de Cerveira (2011), 5ª Videozone (2010), FUSO (2011-2014 e 2017), 6º Festival Internacional de Vídeo de Jacarta (2013) e da Dak'Art - Biennial of Contemporary African Art (2016). Em 2017, foi contemplada com o Montblanc Arts Patronage Award. [Solange Oliveira Farkas was born in Feira de Santana, Bahia, Brazil, in 1955. She's the curator and director of the Cultural Association Videobrasil. She created the Contemporary Art Festival Sesc_Videobrasil in 1983 and was the director and chief curator of the Modern Art Museum of Bahia from 2007 to 2010. She participated as invited curator of the 10th Sharjah Biennial (2011), 16th Cerveira Biennial (2011), 5th Videozone (2010), FUSO (2011-2014 and 2017), 6th Jakarta International Video Festival (2013) and Dak'Art - Biennial of Contemporary African Art (2016). In 2017, she received the Montblanc Arts Patronage Award] ///imagens selecionadas|selected images: exposição do acervo de arte contemporânea do MAM Bahia, 2007 + "Asura", Köken Ergun, 2017 + "Amanhã vai ficar tudo bem", Akram Zaatari, 2017|exhibition of the contemporary collection of the Modern Art Museum of Bahia + "Asura", Köken Ergun, 2017 + "Tomorrow everything will be alright", Akram Zaatari, 2017/// [entrevista realizada em 27 de julho|interview recorded on july 27th] [link para YouTube: https://www.youtube.com/watch?v=rLLt7HRo0u0]

Die Künstlerin Faith Ringgold wächst in einer ziemlich turbulenten Zeit, im New York der 60er Jahre auf, was sich deutlich in ihrem Werk widerspiegelt. Kunst als Ware?! Für Faith ist Kunst eine politische Plattform! Den täglichen und undokumentierten Rassismus und die Polizeigewalt auf den Straßen New Yorks hielt sie in ihren Werken fest, stand auf, setzte sich für die Gleichberechtigung Schwarzer Künstler*innen ein und hatte so nachhaltigen Einfluss auf die Präsenz dieser in der westlichen Kunstwelt. What an iconic woman! Quellen: Hanson, Debra. Review of Faith Ringgold: Paintings and Story Quilts, 1964–2017, Poppy Houldsworth Gallery, Panorama: Journal of the Association of Historians of American Art 4, no. 2 (2018). Exhibition Catalogue. Soul of a Nation: Art in the Age of Black Power, Tate Publishing (2017) Monahan, Anne. Faith Ringgold, DIE, The Riot and Its Reception. Journal of Contemporary African Art, No. 36 (2015) Bradshaw, Amy. Refiguring history : the works of Faith Ringgold and Kara Walker. Honors Theses (2007) Jones Sage, Jacqueline. Faith Ringgold: An American Artist Royster. Pro Quest (1987) Ogette, Tupoka. Exit Racism – Rassismuskritisch denken lernen. Auflage 8 (2020) Haster, Alice. Was weiße Menschen nicht über Rassismus hören wollen aber wissen sollten. Auflage 7 (2019) Hackenschmidt S. (2011) Primitivismus. In: Pfisterer U. (eds) Metzler Lexikon Kunstwissenschaft. J.B. Metzler, Stuttgart https://www.commentarymagazine.com/articles/bayard-rustin-2/the-watts/ https://www.latimes.com/archives/la-xpm-2005-aug-11-me-watts11-story.html https://www.dw.com/de/schwarze-kunst-im-zeitalter-der-black-power/a-39662266# https://www.museoreinasofia.es/en/collection/artwork/guernica https://m.bpb.de/politik/extremismus/rechtsextremismus/213678/was-ist-eigentlich-rassismus http://www.exitracism.de/index.html https://www.moma.org/collection/works/199915 Videos: „Who I Am“, Read 180 Videos “Faith Ringgold – Artist & Activist”, MAKERS “Taking Flight: An Interview with Faith Ringgold”, IWL Rutgers “Faith Ringgold, Artist”, Eldridge & Co. “An Evening with Faith Ringgold”, MoMa LIVE

1-54 Lockdown Webinar How are contemporary African art galleries envisioning the post COVID-19 art world? May 28, 2020 1-54 invited Rakeb Sile, Founder and Director, Addis Fine Art (Addis Ababa, Ethiopia and London, UK), Cécile Fakhoury, Founder and Director, Galerie Cécile Fakhoury (Abidjan, Côte d'Ivoire and Dakar, Senegal) and Ayo Adeyinka, Founder and Director, TAFETA (London, UK) to discuss how their galleries, located in diverse parts of the world, can and will adapt to a redefined art world. They will be in discussion with Touria El Glaoui, Founding Director, 1-54.

1-54 Lockdown Webinar The Future of Contemporary African Art Fairs May 22, 2020 1-54 invited art fairs Founders and Directors Tokini Peterside (ART X Lagos), Victoria Mann (AKAA), Mandla Sibeko (FNB Art Joburg) to a discussion on the future of contemporary African art fairs with 1-54 Founding Director Touria El Glaoui. www.1-54.com

This is the radio magazine that brings you news, commentary and analysis from a Black Left perspective. I'm Nellie Bailey, along with my co-host Glen Ford. Coming up: James Baldwin had a very long career, but never wrote an entire book about Africa. However, a Black scholar says Baldwin's later works show a keen understanding of African liberation. And, should a female athlete be disqualified from competition if some people think she looks and performs too much like a man? But first – Dr.Jared Ball has spent years disproving the proposition that the road to progress lies in harnessing Black consumers' “buying power,” which supposedly exceeds a trillion dollars a year. Dr. Ball is a professor of Communications at Morgan State University and author of “The Myth and Propaganda of Black Buying Power.” The great writer James Baldwin is mostly known for his insights on race in the United States. But, according to Dag-Mah-Wee Woub-shet, a professor of English at the University of Pennsylvania, Baldwin displayed a growing understanding of the African liberation movement in his later works. Professor Woub-shet wrote an article on the subject for the Journal of Contemporary African Art. Sociology professor Ah-NEE-ma Ah-jeh-PONG, of Simmons University, specializes in exploring questions of gender and sports. Dr. Ah-jeh-PONG published an article, recently, that focused on the 2012 Olympic Games, where South African women's track star Caster Seh-MEN-yah won a silver medal but caused a huge controversy by looking too “mannish.”  

This is the radio magazine that brings you news, commentary and analysis from a Black Left perspective. I’m Nellie Bailey, along with my co-host Glen Ford. Coming up: James Baldwin had a very long career, but never wrote an entire book about Africa. However, a Black scholar says Baldwin’s later works show a keen understanding of African liberation. And, should a female athlete be disqualified from competition if some people think she looks and performs too much like a man? But first – Dr.Jared Ball has spent years disproving the proposition that the road to progress lies in harnessing Black consumers’ “buying power,” which supposedly exceeds a trillion dollars a year. Dr. Ball is a professor of Communications at Morgan State University and author of “The Myth and Propaganda of Black Buying Power.” The great writer James Baldwin is mostly known for his insights on race in the United States. But, according to Dag-Mah-Wee Woub-shet, a professor of English at the University of Pennsylvania, Baldwin displayed a growing understanding of the African liberation movement in his later works. Professor Woub-shet wrote an article on the subject for the Journal of Contemporary African Art. Sociology professor Ah-NEE-ma Ah-jeh-PONG, of Simmons University, specializes in exploring questions of gender and sports. Dr. Ah-jeh-PONG published an article, recently, that focused on the 2012 Olympic Games, where South African women’s track star Caster Seh-MEN-yah won a silver medal but caused a huge controversy by looking too “mannish.”  

Touria El-Glaoui is the founder of 1-54, the first leading international art fair dedicated to contemporary art from Africa and its diaspora. Touria takes us a journey from her Moroccan heritage to a career in finance in the United States, to rediscovering the vibrant African art world. Touria El-Glaoui Founds 1-54 In creating 1-54, Touria El-Glaoui ’s mission is to give contemporary African art the platform and voice it deserves. She talks about its creation, navigating early obstacles, and important decisions that set 1-54 up for success. 1-54 created a market that wasn’t present at its launch in 2013. Touria gives advice for emerging African artists and 1-54’s role in inspiring the next generation. She talks about while having a good partner could be helpful, it’s important to know you can do things as an independent woman. In this episode, we talk about: 00:00-3:54: The origins and growth of 1-54 04:28-7:51: What 1-54 is about and creating a market that wasn’t yet there 7:51- 12:33 Touria’s background, being raised as the daughter of two creative people and granddaughter of a Pasha of Marrakesh 12:34-15:56: Creating standards for 1-54 and pushing back against expected roles 15:57-20:55: Touria’s past career in finance in the United States, and returning to Morrocco as a repatriated African selling infrastructure 20:56-22:50: Discovering creativity on the African continent not seen elsewhere 22:51-24:16: Working on an ongoing project of her father’s work and how it informed the creation of 1-54 24:17-26:35: Our responsibility as African entrepreneurs and providing a platform for its voices 26:36-33:40: Overcoming some sponsorship and investment obstacles to grow the brand 33:40-35:21: How having great advisors with business experience to guide at the beginning helped her make smart brand choices 35:22-37:41: Learning to work and negotiate with vendors 37:42-41:02: Earning accolades in Forbes and how to approach media interest 41:03-47:18: Touria’s advice for young and emerging artists; using 1-54 as a goal to shoot for 47:19-51:44: Fielding questions about family and partnerships, but knowing you can do things independently 51:56-53:38: Correct pronunciation of Touria 53:38-55:42: Where to connect with Touria and 1-54 Mentioned Resources Frieze Art Fair 1-54

With the third edition of the 1-54 Contemporary African Art Fair kicking off on 20 February 2020 in Marrakech, I chatted with fair founder Touria el Glaoui… Read more "Why Morocco 031 – Touria El Glaoui on the 1-54 Contemporary African Art Fair"

————Recorded July 2019 ———— Adedana and Nomusa talk Mzansi, Big Dictator Daughter Energy, Love +, and interview Mukami Kuria, on lace fronts for lawyers. 00:41 - ketchup 17:03 - The main (Part 1): Love languages… and attachment theory 1:21:18 - The main main (Part 2): Mukami Kuria on Lawyer-ing and African Art You can follow Mukami’s work here: https://www.instagram.com/mukami_kuria What’s your love language? Email us askafracanah@gmail.com Branding: Victor Murithi Editing: Halima Gikandi Intro music composed and performed by AVByte, as heard on "Honest Trailers - The Lion King" www.youtube.com/watch?v=DFtBjc1dz7w *Episode 34 References & Resources* Part 1: Love languages… and attachment theory Natalie Lue: The Baggage Reclaim Sessions Podcast https://www.baggagereclaim.co.uk/podcast-ep-145-stage-0-1-of-relationships-the-recruiter-mindset/ Part 2: Mukami Kuria Interivew David Koloane The Bag Factory, Johannesburg, South Africa Penny Siopsis William Kentridge Kettle’s Yard, Cambridge, UK Dakar Biennale Museum of Black Civilizations, Dakar, Senegal Zeitz MOCAA, Museum of Contemporary African Art, Cape Town, South Africa MACAAL, Musée d’Art Contemporain Al Maaden, Marrakech, Morocco The Venice Biennale Manifesta Biennale documenta Bamako (Bamako Encounters/Rencontres Bamako) Kochi-Muziris Biennale Berlin Biennale *Correction: The Ship was originally from Libya Christoph Büchel Barca Nostra Edouard Glissant Zimbabwe Pavilion, Soko Risina Musoro (The Tale without a Head) Raphael Chikukwa National Gallery of Zimbabwe Ghana Pavilion, Ghana Freedom, Venice Biennale 2019 Kara Walker’s ‘A Subtlety, or the Marvelous Sugar Baby’ (2014) Domino Sugar Factory, Brooklyn, New York Kader Attia Sherene Razack Jerry Gogosian Meme Page on Instagram Art Basel Gabi Ngcobo Remi Onabanjo The Walther Collection RAW Material Company Senegal Koyo Kouoh (Current Chief Curator, Zeitz MOCAA) Art Auction East Africa Sotheby’s Christie’s Bonhams Tate Young Patrons Tate Collective Book Bunk Smithsonian Museum, Washington DC The Phillips Collection, Washington DC She’s Gotta Have It – The Series Spike Lee Creative Time Theaster Gates B.A.R. – Black Artist’s Retreat MoCADA – Museum of Contemporary African Diasporan Arts The Sackler Family Yana Peel The Serpentine Gallery, UK Tschabalala Self Juliana Huxtable Kennedy Yanko Carrie Mae Weems Amy Sherald Wangechi Mutu Michael Armitage Lincoln Mwangi William Kentridge, A Poem That IS Not Our Own, at Kunstmuseum, Basel, Switzerland William Kentridge, The Head and The Load Sara Ahmed, The Cultural Politics of Emotion Judith Butler iQhiya Collective Athi-Patra Ruga Bronwyn Katz Lungiswa Gqunta Kemang wa Lehulere Julie Mehretu Lady Skollie Kudzanai-Violet Hwami Lynette Yiadom-Boakye Gordon Parks

On this episode, we hear from artist Jefferson Pinder about his performance art piece “This Is Not A Drill” performed at The Source on 14th Street in mid June 2019. Jefferson Pinder is an artist whose work provides evocative commentary on race and forms of struggle, aiming to investigate aspects of personal identity through the materials of neon, found objects, performance, and video. Pinder is joined in conversation with Dr. Jordana Moore Sa- jay -say to discuss Pinder’s new work and its inspirational ties to The Red Summer of 1919. Jefferson Pinder’s work has been featured across the globe in group and solo exhibitions at a number of institutions, including: The Studio Museum in Harlem; The Phillips Collection; and the National Portrait Gallery in Washington, D.C. ; and his work is a part of the permanent collection at the Smithsonian Museum of African American History and Culture. Dr. Jordana Moore Sa-jay-say is Associate Professor of American Art at the University of Maryland, College Park and Editor-in-Chief of the College Art Association’s Art Journal. Her work centers on modern and contemporary American visual culture with an emphasis on expressions and theorizations of blackness. Her writing has appeared in Exposure: The Journal of the Society for Photographic Education, The Journal of Contemporary African Art, and Art Journal. Her first book Reading Basquiat: Exploring Ambivalence in American Art received the PEN Center USA Award for Exceptional First Book in 2015.

1-54 Public Programme London 4 -7 October 2018 Contemporary African Art Ecology African contemporary art has operated in and become a part of its own idiosyncratic ecosystem. Mary Corrigall (Founder and Director of Corrigall & Co) is committed to deconstructing and understanding each ‘element' of this nascent ecosystem through in-depth art reports. She will introduce Corrigall & Co.'s inaugural report by presenting a map that offers insights into the rising visibility of art from the continent and its anticipated future growth. Mary Corrigall is a Cape Town based contemporary African art specialist and researcher. She has been reporting on and analysing contemporary African art for 15 years as an art journalist and academic. She pursued this category as a research associate at the University of Johannesburg and as a full-time art critic at the Joburg-based The Sunday Independent for a decade. She has written for numerous South African, PanAfrican publications, art and academic journals and produced numerous monograph texts for artists. CNN, the European Commission, the English Academy of South Africa, have all awarded her arts journalism. In 2015 she established Corrigall & Co art consultancy, which, drawing from her contemporaries insight on the continent, is focussed on producing industry art reports mapping and revealing the shifting dynamics underpinning the art eco-system particular to contemporary art from the African continent. The first was released in early October. Image: © Katrina Sorrentino www.1-54.com

On the eve of the 1-54 fair for contemporary African art, we talk to an artist, a curator, an art fair founder, a gallerist and an auctioneer about the long overdue recognition of the diverse art of a continent. Produced in association with Bonhams, auctioneers since 1793. See acast.com/privacy for privacy and opt-out information.

  Egyptian artist Magdi Mostafa's interactive environment for the 2018 Dakar Biennial of Contemporary African Art turns the sounds of analog technology into a vibrating aesthetic force. Acting like tiny radio receivers, his handmade electronics make audible the otherwise silent electro-magnetic fields emanating from today’s myriad digital devices. He exposes the reverberations of energy emission and loss in our battery powered, wi-fi connected contemporary communications.  In “Transmission Loss,” electronic residue becomes the main signal—the core source of energy for an audio playscape. Mostafa invites us to turn a field of full frequency noise into a sonic composition. By tweaking the dials of tone generators and manipulating vibrating devices, we can alter sounds, discover patterns and explore the mysterious interactions of feedback and inter-device communication.  Sound Editor: Jonathan Pfeffer | Special Audio and Photos courtesy Magdi Mostafa Related Episodes: Samson Young Presents Hong Kong Mixtape Stephen Vitiello Live from Dak'Art 2018 Related Links: Magdi Mostafa Dak'Art 2018

Attribution: Younès Rahmoun, Zaytûna et Ghorfa 7 in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Guy Woueté, Democratic Classroom in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Salah Hassan, Black marxism and the black radical tradition in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Zainab Andalibe, One story amongst many other stories in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Jean Philippe Aka, Africa Art Market Report in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Sandra Terdjman, Council et Kadist Art Foundation in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Oulimata Gueye, Afrocyberféminismes in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Karen Milbourne, National Museum of African Art - Smithsonian Institution Washington DC in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Loulou Cherinet, Axis in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

Attribution: Magdi Mostafa, Transmission Loss in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all.

Attribution: Olanrewaju Tejuoso, Oldies and Goodies in “Usmaradio” for the radio program “Scuola di pensiero” by Iolanda Pensa, recorded at Dak’Art The Dakar Biennale of Contemporary African Art, Dakar, Senegal, May 2018, cc by-sa all. Photo by Iolanda Pensa, 2018, cc by-sa all.

In Studio with Sharon Obuobi is a series of conversations with artists, curators, influencers, exploring the process of art making. In this episode, I speak with Ibrahim Mahama, one of Ghana’s most celebrated contemporary artists. A graduate from the Kwame Nkrumah University of Science and Technology, Ibrahim had an outstanding break in 2015, when he was exhibited at the 56th Venice Biennale, curated by Okwui Enwezor. Following this, his work has been exhibited at the Tel Aviv Art Museum, The Broad Art Museum, White Cube Gallery, and Documenta. -- Ibrahim's work is featured in the upcoming sale of Modern & Contemporary African Art sale at Sotheby's on March 28. To see more of Ibrahim's work, visit our Instagram page @InStudiowithSO. Learn more about us at www.instudiowithso.com. -- All views and opinions expressed by guests are their own.

Episode 32 features a conversation with Amy Halliday, director of the Hampshire Gallery at Hampshire College. Amy works at the intersection of curation, education, arts administration and management. She holds an M.A. in Art History from University College London and an M.A. in teaching from Smith College. We talk about contemporary African art and "5 Takes on African Art," an exhibition at the University Museum of Contemporary Art (UMCA) at the University of Massachusetts. Our conversation begins at 2:34. … More Ep32. A conversation with Amy Halliday on contemporary African art

“Romare Bearden was asked in a 1972 interview with Camille Billops how he would define black art, and he said that black art is the art that black artists do,” says Tate's Zoe Whitley. "If someone were to say: 'What is white art?' you might say the Italian Renaissance, but you could equally say the German Renaissance, Rembrandt or English painting. Black art is as varied as that.” Joining us in London to discuss contemporary African art are Zoe Whitley, the curator and writer Osei Bonsu, and Sotheby's Hannah O'Leary. In a broad-ranging conversation, we cover the challenges of bringing more recognition to artists who have lived or worked on the Continent or been part of its diaspora. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm. For a full transcript, click here: http://www.artagencypartners.com/episode-16-transcript-contemporary-african-art/

“Romare Bearden was asked in a 1972 interview with Camille Billops how he would define black art, and he said that black art is the art that black artists do,” says Tate's Zoe Whitley. "If someone were to say: 'What is white art?' you might say the Italian Renaissance, but you could equally say the German Renaissance, Rembrandt or English painting. Black art is as varied as that.” Joining us in London to discuss contemporary African art are Zoe Whitley, the curator and writer Osei Bonsu, and Sotheby's Hannah O’Leary. In a broad-ranging conversation, we cover the challenges of bringing more recognition to artists who have lived or worked on the Continent or been part of its diaspora. "In Other Words" is a presentation of AAP and Sotheby's, produced by Audiation.fm. For a full transcript, click here: http://www.artagencypartners.com/episode-16-transcript-contemporary-african-art/

Modern, and contemporary criticism of African and African diasporic art is an area of inquiry that Professor Chika Okeke-Agulu insisted must exist. Professor Okeke-Agulu, along with others like Salah Hassan and Okwui Enwezor wrote into life a genre, and a lineage of artists who diagnose and critique African nation states and related projects. Okeke-Agulu is author of the recent Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria, which takes a broad view. His new work, Obiora Udechukwu: Line, Image, Text, takes a more narrow view, focusing on a former teacher who he names as the most influential Nigerian artist of the 20th century. Okeke-Agulu is currently at work on a book called Contemporary African Art in the Age of the Big Man, which tells the story of contemporary art after dictatorships, civil wars, IMS, and the devastation of African economies in the 1980s.

1-54 Forum New York 6 -7 May 2016 Museums and Contemporary African Art The panel explores practices in collecting, curating, and the display of contemporary art by African artists in American museums with discussants Karen Milbourne (Curator at the Smithsonian's National Museum of African Art); Kevin Dumouchelle (Associate Curator of Arts of Africa and the Pacific Islands at the Brooklyn Museum); and Yesomi Umolu (Curator of Exhibitions at University of Chicago's Reva and David Logan Center for the Arts). Moderated by Ugochukwu-Smooth C. Nzewi. www.1-54.com

Kosmo blickar in i historiens giftskåp. Om mörka historier som möter dagens ljus. Om upptäcktsresares och antropologers etnocentriska världsbild och om hur en ny tids resande kräver en omvärdering av vi och dem. Under andra världskriget efter Pearl Harbor internerades       120 000 japanska immigranter i läger på avskilda platser. I författaren Julia Otsukas bok When the emperor was divine får vi läsa om detta stycke mörk amerikansk historia, en historia som hon fann hos sin egen familj. Boken har gjort att hon kan leva av sitt författarskap. Den tycks ha fyllt ett hål i den amerikanska historieskrivningen och köps in av många skolor och universitet som kurslitteratur. Marie Lundström har varit i New York och mött Julie Otsuka. I höst kommer hennes andra bok Vi kom över havet på svenska. Där berättar hon historien om de så kallade picture brides - unga japanskor som kom till USA i början av 1900-talet i hopp om ett bättre liv. Kosmo har också varit i Paris och på konsttriennalen Intense Proximety på Palais de Tokyo. Utställningen ifrågasätter hur världen har upptäckts och hur vi skapat hierarkier av vi och dem, samtidigt som den fokusera på den värld vi lever i idag, där den mänskliga rörligheten sker utifrån andra villkor och där nya relationer måste skapas. Utställningens chefskurator Okwui Enwezor har inspirerats av en bok om den franska socialantropologen Claude Levi-Strauss och hans kritik av det tidiga 1900-talets antropologiska synsätt, och en händelse i händelse i Paris vintern 2006, då en högerextrem organisation satte upp ett soppkök för Paris hemlösa och serverade grissoppa – en soppa som uteslöt en stor del av stadens befolkning. På konsttriennalen på Palais de Tokyo visas verket The Wedding Room av Meschac Gaba från Benin och Rotterdam. Meschac Gaba passade på att arrangera sitt eget bröllop samtidigt som han var inbjuden till Stedjlik museum i Amsterdam år 2000. Resultatet ställs ut på fotografier och montrar på samma sätt som föremål brukar presenteras på etnografiska museer. Meschac Gaba är numera ett välkänt namn på den internationella konstscenen. Genombrottet kom med hans Museum of Contemporary African Art där ett av rummen är Vigselrummet. "En av tankarna med mitt samtida afrikanska museum är att just visa upp vad det samtida Afrika är. Och det kan lika gärna finnas här i Europa. Det handlar om att ta sig ur schablonerna om ett Afrika sett med antropologernas blick", berättar han för Cecilia Blomberg när hon möter honom i Paris. Och så har Maria Edström läst boken Give me my father’s body - The Life of Minik, the New York Eskimo,  skriven av Kenn Harper. Boken handlar om Minik som 1897 kom med sin far och fyra andra inuiter till New York med skeppet Hope för att föras vidare till American Museum of Natural History. Det var upptäcktsresaren Robert E Peary som kommit på ”snilleblixten” att de kunde visas upp på museet, studeras och bidra till forskningen. Alla utom Minik dör och som senare i livet får veta att hans fars skelett ställs ut i en monter på museet. Programledare: Cecilia Blomberg Producent: Marie Liljedahl

UA art history professor Mikelle Omari-Tunkara will speak about contemporary African art and the world of El Anatsui, whose work is on display at the UA Museum of Art through Jan. 20. Omari-Tunkara’s public talk will be held at the UA Museum of Art. Nov. 14, 2007