Arena for Contemporary African, African-American and Caribbean Art

Author: Sasha Dees

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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?


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


“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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Sweet Boys & Butch Girls: activism in (gay) art


We impose our opinions, our norms and morals onto those others or, even worse, we fight and go to war to basically weep them out or conquer them. Geography, religion, spirituality, traditions, ethnicity, gender, race, sexuality, we human beings have defined many ways to separate ourselves from “the other”. Will we ever actually see, respect and value all that includes humanity? Can art be a tool in this struggle?

Sasha Dees on activism in (gay)art
Abakhaphi at Promise & Gift’s Wedding II, Daveyton, 2013.

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Christopher Cozier


“The pressure is for you to make yourself available/visible but in that process you become static…fixed… it means you stand in one place in a way that is so tangible that you can easily be bypassed or placed … as opposed to being as mobile as you always have been. It’s a tricky thing. People are saying to you – I want to see you, but this is the lens I have. And then you say: that’s your lens, I don’t know what I have to be to be seen… but I think I want to go there.”

Sasha Dees interviews Christopher Cozier.
That Tree, mixed media on paper, 2012. Courtesy: David Krut Gallery / Artist

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