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Arena for Contemporary African, African-American and Caribbean Art

Rehema Chachage

RehemaPortrait

It is hard to talk about how my work is perceived. I think it’s received well but there have to be enough critics from the continent reviewing it for me to learn how it is perceived. When I started, people doing the kind of work I do in my country were negligible though some existed in other countries. All I can say as my mother often says, ‘the future is abundant’.

Raquel Villar-Pérez in conversation with Dar es Salaam based Rehema Chachage (1987)

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Lhola Amira and the Mendi

LholaOpening

By engaging African ritualistic elements in order to invoke themes of historic healing, the artist demonstrates the measure with which what is perpetual about the moral putrefaction that characterizes society is persevered by what is ambiguous between the play of history and time, and between historic moments and contemporary examination.

Themba Tsotsi on the last exhibition of Lhola Amira
Lhola at the opening of the exhibition

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Caribbean Travelogue: Cayman Islands and US Virgin Islands

TonyCapellan

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). In March she reported about her stay on Korsou (Curacao). In the April edition Aruba was reported on. Jamaica followed in May. Now the Cayman Islands and the US Virgin Islands are on.

Tony Capellán, Mar Caribe, 1996.

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The Artwork of Eddy Kamuanga Ilunga

Fragile 2_small sRGB_170cm x 150cm, Acrylic and oil on canvas, 2018

My paintings are also a testimony to the beauty and intelligence of pre-colonial societies and a tribute to how these societies were organised. The way in which I place these societies in relation to the present is rather like tracing a traditional and cultural knowledge that was crushed by the rise of industrial power.

Christabel Johanson meets Eddy Kamuanga Ilunga in London

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Sanaa Gateja: The Bead King

Sanaa2detail

1990 is when I started doing the bead work in Uganda and practice has spread all over Uganda, to Kenya, Rwanda and now South Africa. The beads have now become a Ugandan brand and when you google ‘paper beads’, Uganda has to come up somewhere.

Matt Kayem interviews the Ugandan artist Sanaa Gateja, the Bead King

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June 2018 edition.

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