Arena for Contemporary African, African-American and Caribbean Art

Author: Rosalie van Deursen

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Azu Nwagbogu and Clémentine Deliss on Home Museum


“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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Abdulrazaq Awofeso’s wooden friends


“I use everything I see and experience in my daily life as a source of inspiration. Things I encounter, hear or read. I am interested in people’s reactions to their environment; when we talk about migrants for example, I ask myself: how do they cope with their new surroundings and with being illegal? What kind of human reactions and emotions pass through them?”

Rosalie van Deursen in conversation with Abdulrazaq Awofeso

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Ephrem Solomon’s Choice: studio visits to Ethiopian artists

SolEphrem Solomon (2)

Ephrem Solomon set out to introduce me to the group of artists he grew up with and who, like him, use their art as a platform for social commentary. I return home grateful and fulfilled; the visits I have made with him have brought me closer to the heart of modern Ethiopia.

Rosalie van Deursen gives the floor to Ephrem Solomon.

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Seven Hills: The Kampala Art Biennale


The Kampala Art Biennale is an effective way to put East Africa and its art scene on the international map. I am already looking forward to the third edition that will undoubtedly also have a bigger local impact. Like anyone in Kampala being bombarded daily by religious and materialistic messages, a confrontation with creative minds that make one question oneself and the society one lives in is very refreshing and valuable.

Rosalie van Deursen on ‘Seven Hills’, the Kampala Art Biennale.

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Contemporary art in Bamako, Mali.


“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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