africanah.org

Arena for Contemporary African, African-American and Caribbean Art

Author: Sasha Dees

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Carabbean Travelogues: Aruba

Aruba1996_Tony Capellán_Mar Caribe_S (2)

In November last year Sasha Dees started travelling in the Caribbean region, researching the sustainability of contemporary art practices and the influence of international (exchange) projects, funding, markets and politics. During her research she will be keeping a travelogue for Africanah. Her first stop in the region was Ayiti (Haiti), one of the islands in the region she has not spent any time before (see February edition). In March she reported about her stay on Korsou (Curacao). This month the focus is on Aruba.

Tony Capellán, Mar Caribe, 1996.

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Caribbean Travelogue Part 2: Curacao

Curacao02_1996_Tony Capellán_Mar Caribe_S

In November last year Sasha Dees  started travelling in the Caribbean region, researching the sustainability of contemporary art practices and the influence of international (exchange) projects, funding, markets and politics. During her research she will be keeping a travelogue for Africanah. Her first stop in the region was Ayiti (Haiti), one of the islands in the region she has not spent any time before (see February edition). This time she reports from Korsou (Curacao).

Tony Capellán, Mar Caribe, 1996.

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Caribbean Travelogue. Part 1: Haiti

CTTony Capellan (1955-2017) - Mar Caribe, 1996 (2)

In November last year I started travelling in the Caribbean region, researching the sustainability of contemporary art practices and the influence of international (exchange) projects, funding, markets and politics. During my research I will be keeping a travelogue for Africanah. My first stop in the region is Ayiti (Haiti), one of the islands in the region I have not spent any time before.

Sasha Dees on the first episode of her Caribbean Travelogue: Haiti.
Tony Capellan (1955-2017) Mar Caribe, 1996.

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Contemporary African Art a hype?

onyismartinuntitled2016

When and how do we address subjects as race and nationality in the global contemporary art context? The Canon should never be cast in stone. The current times call for new definitions and wording that are accepted and intelligible by all working in the arts internationally. Wording that reflects our time, is decolonized, inclusive and self-evident of our global context.

Is contemporary African Art a hype? Sasha Dees ‘feeds’ the conversation.
Onyis Martin, Untitled, 2016.

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Ebony G. Patterson

EPCover

“There is a challenge being made about seeing and looking. The seeing is what happens on social media, but the looking is what I’m asking you to do. The looking requires thought, it requires engagement, it requires awareness, it requires inquiry, and it requires presence.”

Sasha Dees quotes Ebony G. Patterson
II Rosez (detail), 2014.

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