“We are being anesthetized by beauty, by the color of fabrics but behind all this, there is something else. The Silk Road is from where the most beautiful fabric originates. But it is also the origin of the imprisonment, the locking up of the planet”.
It would be a shame if the festival is discontinued before it has reached its potential, and before we can see the impact it can make. As for plein-air paintings, even the harshest of critics can succumb to that one nostalgic picture. Plein-air paintings call attention for the places they depict. They encourage a dialogue about the things that happen there. In an ideal world, the Lamu Painters Festival would work to create awareness about Lamu and to promote the preservation of a special place.
Zihan Kassam on The Lamu Art festivals in Kenya
Good Hope is a feeble attempt by the Rijksmuseum to bring better understanding to the ‘relationship’ between South Africa and the Netherlands. While there is merit in bringing awareness to this narrative, what it fails to do is bring home the message of how the colonized continue to struggle to break free from the shackles of oppression and it excels at continuing to pacify the voices of these people, allowing the Dutch audience to continue living in oblivion or perhaps ignorance.
South African art critics Alfred T.M Rossouw and Phumzile N. Twala on the exhibition Good Hope in Rijksmuseum Amsterdam.
Nelson Mandela, Leidseplein Amsterdam, 1990.
Petersen is a multi-disciplinary artist whose discourses focus on photographic ‘self-portraits’, installations and multi-sensory based performance. Her work has been a journey through her Muslim, Cape Malay, South African, and Indonesian past, with the hope of constructing a better future by taking back what has been robbed from her culture – heritage, history, pride, self-worth and dignity.
Candice Allison on Thania Petersen.
Bikoro’s visual practice is, in fact, an organic and consequential research of modes of remembering, recollecting, rewriting, rethinking and reshaping histories and temporalities. Each performative gesture, each written or spoken word, installation or moving image taking part into the artist’s polyhedral research, is just a segment of a dense apparatus of references and correspondences.
Chiara Cartuccia on Nathalie Mba Bikoro
Future Monuments: Re-inventing the Human Memorial, 2014, courtesy the artist