“Art is a fluent matter so let’s go beyond localization of ideas, because thoughts are global. Besides, Africa is not blackness and blackness is also not Africa, but global. Let’s look at the different narratives that exist in history.”
“We invite them to tell their story, to share the photos with the audience.“ Harris is present to direct the event, but the floor is for the people. They talk, they respond. “They want to listen with their heart. They want their hearts to be open. There is no fear.”
Rob Perrée interviews the American filmmaker Thomas Allen Harris about his latest film “Through a Lens Darkly’ and his ‘Digital Diaspora Family Reunion’ project.
“I begin to understand that perhaps it is not so much that she is against interpretations that deem her drawings sinister or dark, but rather that she hopes a few intuitive spectators will understand that they project their own emotions on to what they see. More than that, she wants me to acknowledge that the agony and the ecstasy can be felt simultaneously and equally, and that life often exists in the grey.”
Zihan Kassam on the ‘Straightjacket’ series of Beatrice Wanjiku.
Lifts beyond conception.
Insulated in the bubble, Kannemeyer does not see the causal connection between ruling party’s political compromise and his own sanctuary. That his paint runs dry on this matter isn’t an accidental omission, but a typical white attitude.
South African critic Athi Mongezeleli Joja on the last exhibition of Anton Kannemeyer.
K is for Kissing, 2015.
“It’s possible that a novelist begins a novel in an attempt to open up a photograph, or several photographs. I will like to write such a novel. It’s this sort of future I wish to imagine for photographs—a world in which they are bound up with novels.”
The deeply felt desire of the Nigerian critic and writer Emmanuel Iduma.
James Agee, Allie Mae Burroughs, wife of cotton sharecropper, Hale Country, Alabama, 1936. Courtesy Library of Congress.
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