Arena for Contemporary African, African-American and Caribbean Art

Dread Scott


“This is a country that has police who murder its citizens, have the murders caught on video and failed to indict the murderer. This system is illegitimate and any elected official who cannot plainly state that the police who committed the murders should be indicted, convicted and jailed for their crimes is both morally bankrupt and illegitimate.”
Dread Scott in an interview with Rob Perrée.

On the impossibility of freedom in a country founded on slavery and genocide, performance, 2014.

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Zanele Muholi


“Zanele Muholi not only wants black lesbians and transgender individuals to be portrayed in a more honest and respectful way, her photos are also a visual protest against the sexual assaults and violence directed towards the LGBT community. On many occasions she has made it clear that she is more than a photographer, she wants to be known as an activist.”
Rob Perrée on South African Zanele Muholi.

Duduzile Zozo’s Funeral, Thokoza, July 2013.

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Market Photo Workshop Johannesburg


With documentary photography becoming more popular in South Africa and many of John’s students being involved in it, they are writing their own history. Most of them find it very interesting to photograph the struggling, working class, but also the upcoming middle class serves as a subject for many projects.
Jorrit Dijkstra interviews John Fleetwood of the Market Photo Workshop in Johannesburg.

Veleko, I am not afraid, 2002 (courtesy Goodman Gallery SA)

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Gor Soudan


“His latest exhibition, he says, is inspired by childhood memories. Perhaps by diving into his early life, his beginnings, he hopes to better understand his vantage point. Although highly unlikely, if we are lucky, we might get a quote or two on what he has discovered about himself. Fortunately for Gor, even though he is so headstrong and very efficient in fleeing from interviews, his work in most instances is provocative, tells its own story, and can in fact survive and thrive without his presence.”
With these words Zihan Kassam concludes her essay on Kenyan artist Gor Soudan.

From the Resurrection Series, 2013.

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The Dancing Kabra Mask

#1 kabra mask

Anthropologist James Clifford argues that art museums must learn from anthropologists; for example, to see objects as a process and not just as a product. The use of the object adds value. This is exactly what happens when the Kabra mask dances and gives the ancestors an opportunity to manifest themselves. Masks make sounds, says Clifford, they move, but they lose that ability in museum display cases. Once they end up in a museum, they stop their function in society.
Annemarie de Wildt of the Amsterdam Museum tells the story of the creation and the acquisition of the dancing Kabra Mask.

Kabra dance-mask, Boris van Berkum, 2013. Lacquered polyurethane, textile 66 x 40 x 40 cm. Collection Amsterdam Museum. photo Erik Hesmerg

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Edition 1, January 2015.

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