Arena for Contemporary African, African-American and Caribbean Art

Igshaan Adams: Oorskot


Using found material to make statements about the intimacy between sexuality, religion and race Adams’ oeuvre renews our interests in topical subjects in ways that beckon us to pay attention to subtly sustained institutionalized bigotries and discontinuities.

Athi Mongezeleli Joja on the South-African artist Igshaan Adams

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Seven Hills: The Kampala Art Biennale


The Kampala Art Biennale is an effective way to put East Africa and its art scene on the international map. I am already looking forward to the third edition that will undoubtedly also have a bigger local impact. Like anyone in Kampala being bombarded daily by religious and materialistic messages, a confrontation with creative minds that make one question oneself and the society one lives in is very refreshing and valuable.

Rosalie van Deursen on ‘Seven Hills’, the Kampala Art Biennale.

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Let’s Meet in Paris: Contemporary African Art in the French Capital


Rob Perrée stayed for one month in Paris to experience Paris after the terror attacks of last year, but most of all to meet with contemporary African artists, to visit their studios or shows. Here a report of his trip.

Ernest Dükü, Miss Amuin @ soleil ô soleil, 2014

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Mavis Tauzeni


“By bringing different views to some of the problems in society art can challenge us to see if it is done like this or like that is it really that different. On the other hand, viewing art is a bit like listening to a church sermon, you might take in some of the message but you can’t take it in all at once. And I suppose it’s what you do with that message that ultimately counts.”

Candice Allison in conversation with Mavis Tauzeni.
Child Bride, 2016.

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Oupa Lesime Sibeko: Black Dog


When articulating this series of images, Sibeko unpacks how during his formative years he hated men. To him, male role models were in short supply. His childhood development was shared with his grandmother and uncle. This particular uncle was an alcoholic and thus constantly in a state of drunkenness. Lesime states that it was “a brutal, violent and sad home”. These feelings of brutality and violence are echoed through the vulnerability of the naked body.

Daniel Hewson on the series of still photographs of South African Oupa Lesime Sibeko.

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October edition 2016.

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