While the Nigerian-born artist has become renowned for her sculptural adaptations of traditional Kalabari masks, and for her pointed critiques of Western museological displays of African visual culture objects, this exhibition shows the artist, instead, in dialogue with the history of Western art.
The proliferation of many new spaces for art’s distribution particularly those of art-centres, provides liberation from commercial motives which can extend aesthetic freedom offered to artists and their practice. The networks that these multiple spaces create, and the environment of continuous questioning of ‘what is the purpose of art’ and ‘what can art achieve’ has been constructive for artists to continuously push boundaries. Additionally these new spaces create a platform for wider audiences to encounter art.
Craig Halliday on the contemporary visual art practice in Nairobi.
Cyrus Kabiru, from C-Stunners series.
Beyond capturing the ultra stylish hipness of his post-colonial cohorts, Sidibé joyfully affirms the lives, identities and aspirations of a generation reaching for freedom and asserting their modernity into the world. Beyond that, his photographic images have become part of a visual lexicon that resonates and extends to communities worldwide.
Eve Sandler on the late Malick Sidibé.
Nuit de Noël, 1963.
After all colonization was essentially based on the art of seeing – of seeing the other through the perspective or gaze of the western world. Or fixing the observed other in a frame or lens like photographer or a hunter tracing a wild thing through the pistol’s lens.
Athi Mongezeleli looks back on two controversial exhibitions of Alfreda Jaar in Johannesburg.
Frantz Fanon Tribute, 2016 (photo David Mann).
Because of the way he is working on a painting or a drawing – slowly, with refined lines, a soft touch, focused on details, but also very much aware of the spatial effects, the effect of empty spaces juxtaposing ‘filled’ spaces – his works are more of an emotional representation or interpretation of the reality.
Rob Perrée in conversation with Xavier Robles de Medina from Suriname.
Samaita (detail), 2016, graphite on paper.
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