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Arena for Contemporary African, African-American and Caribbean Art

Contemporary art in Bamako, Mali.

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“People do not come to me, because I come to them. I exhibit in their environment, just on the street. That’s taboo breaking. They often do not understand what art is all about but they are curious and ask questions. When I have not exhibited for four months they ask when the next exhibition will be. Some even send their children to me so they can learn to draw. So there is a radical change going on in terms of the appreciation of contemporary art in Bamako. Fortunately it’s not limited to the international art scene!”

Rosalie van Deursen travelled to Bamako to talk with local artists about contemporary art in Mali.
Amadou Sanogo, Headless, 2016.

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Kemang Wa Lehulere

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Like a true sadist, Kemang Wa Lehulere’s show disavows any grand finale by always opening up “the end.” We leave the show content, filled but not certain with what exactly.

Athi Mongezeleli Joja on Kemang Wa Lehulere.
Red Winter, 2016.

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Sikhumbuzo Makhandula

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“I discovered that I come from a family of practitioners, of healers, something that in the family…a Christian family, was silenced actually. It was never spoken about, even till today,” he reveals.

Athi Mongezeleli Joja in conversation with Sikhumbuzo Makhandula

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Was the EVA International, Ireland’s Biennial, a failure?

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Overall, Koyo Kouoh constructed an artistic Frankenstein. Unfortunately the star curator proved unable to supply the body with the necessary lightning. The limbs were sourced in South-East Asia, its intestants in Europe; the head came from Africa, while the torso was imported from the extensive American continent. So, even though having ticked all boxes of global presence, the spark did not cave in: the overall connections and ideas did not make the exhibition come to life.

Vincent van Velsen on the EVA International 2016, Ireland’s Biennial.
Kemang Wa Lehulere, Teeth are the only bones that show, 2015.

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Looking for rebels in Surinamese art

SuMarcel Pinas A libi (2)

It is clear that many people in Suriname not yet fully realize that artists can only arrive at great results by stepping out of comfort zones. By venturing into the unknown. We should be proud of what these free spirits offer us, and we truly believe that societies can greatly benefit from their artistic gifts.
Therefore we think that releasing their inner rebel might be sound advice for art lovers too!

Chandra van Binnendijk and Marieke Visser on art in Suriname.

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Summer edition 2016.

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