Arena for Contemporary African, African-American and Caribbean Art

Patrizia Guerresi Maïmouna


“Historically, feminist spirituality in art and thought (including cultural feminism) has searched for a language to counter patriarchal violence enacted upon female bodies. At a time of continued violence, MaÏmouna’s work invites a process of re-visiting these histories, and their significance to artists working currently, across generations and geographies.”
Yvette Greslé in her essay on Patrizia Guerresi Maïmouna.

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Carrie Mae Weems


“You allow me to glare into your eyes, with your hands steady on the table. You are calling for attention, not to your ego, but to your eyes, the window into your soul, as fractured as it is.”
Emmanuel Iduma speaks to Carrie Mae Weems.

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Prospect 3 New Orleans


“Sirmans has created a carefully composed biennial. The selected artists ‘serve’ his concept, their work is linked to the ‘character’ of the environment in which they are exhibited, without becoming exclusively local or national. In the themes they are talking about – Sirmans uses the word ‘conversation’ a lot – they often meet each other, not in the least because of the thoughtful installment of Sirmans.”
Rob Perrée on Prospect 3 in New Orleans.


Herbert Singleton, Angola, 1990′s.

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The Danjuma Collection


“Theo Danjuma’s collection confirms the spirit of a new kind of contemporary compositional art from all corners of the earth; that makes for a more inclusive display of works.”
Rajesh Punj on the collection of the young, London based collector Theo Danjuma.


Kudzanai Chiurai, White Picket, 2011.

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Kampala Art Festival 2014


“If we could combine the autonomy and respect for local talents of the Kampala Biennial with the website and communicative power of KLA ART 14, an ideal contemporary African art festival could be created in the future in Kampala. African contemporary artists are quite able to organise themselves and speak for themselves, provided they can secure enough funding to cover transport, logistics, materials and expenses. The ‘help’ of expatriates should be more or less invisible, and this was not the case at KLA ART 14.”
Helen Hintjens reports from the Kampala Art Festival.

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Edition 11, November 2014.

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