africanah.org

Arena for Contemporary African, African-American and Caribbean Art

Azu Nwagbogu and Clémentine Deliss on Home Museum

AzuNieuw

“What I love about Home Museum is the sentimental value that all of us can relate to. It is not about the stars, but there to empower citizens.”

Azu Nwagbogu on the concept of The Home Museum
Portrait of Azu Nwagbogu and Clémentine Deliss in front of a sculpture of Ben Enwonwu outsde the National Museum of Nigeria, Lagos (photo: Ugochukwu Emebiriodo)

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Waswad: Down in Napak

Waswa5Installation Shot 2

I’m not trying to be ‘African’. I’m not trying to prove anything. If you want to doubt if it’s African, look at the material the art is made of and look at the person making it. So I’m using local materials and the concepts I put across are indigenous to this place. I actually hate the title ‘African art’ because titles are for people who want to gain from this.

Matt Kayem interviews Waswad
Installation View, Afriart Gallery, 2020 Read more »

Felix Shumba

Joja1

His work speaks to the present by utilizing the past and invoking the violence enacted by the church, the military, and even the scientific fields, all under the guise of civilization so as to conquer and plunder black and brown nations.

Athi Mongezeleli Joja on the drawings of Felix Shumba, born in Zimbabwe, living in Johannesburg
INDX – Non Human, fold, opp. 33, 40, 109, 2020

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Black Punk

BlackPunkBenaturalBruceHatcock

Black Americans got involved in the Punk scene during the ethos of the mid-seventies, just as Fusion, Disco and early Hip-Hop were going through a nexus and a simultaneous disbanding to stand on their own accord, distancing themselves from one another as they crossed paths at the intersection of Black American music.

Ramón Singley II on Black Punk
Benatural member Bruce Hatcock

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Kwesi Botchway

Kwesi Botchway, Bald Head King, 2020. Acrylic on canvas. 31 x 31 in.Courtesy of Gallery 1957

Botchway’s exhibition seeked to unify the mercurial nature of human traditions and politics around what it means to be black. Be it beauty, fashion, identity or skin tone Botchway’s message isn’t just static, it isn’t just a state of being, it is a state of becoming something more.

Christabel Johanson on the work of Kwesi Botchway
Bold Head King, 2020, Acrylic on canvas, 31 x 31 in. Courtesy of Gallery 1957, London Read more »

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December/January edition, 2020/2021

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