africanah.org

Arena for Contemporary African, African-American and Caribbean Art

Archive: articles

Prina Shah

Prina-Shah-Inner-Whispers-XVII-2019

She shares with me her findings that we humans not only have a body but also a mind and energy. The mind is a muscle; it needs care just like the body. The question is what do we feed it with? And what does this state look like? Whatever we are thinking inside reflects or vibrates out of us. Prina shares this questioning and experience in her work.

Thadde Tewa, Nairobi, meets the Kenyan artist Prina Shah
Inner Whispers XVII, 2019

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Antonio Jose Guzman: Electric Dub Station (in collaboration with Iva Jankovic)

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Guzman has an inquisitive mind, ready to find out how the histories of the places he works or lives are connected to other parts of the world, always out of a strong awareness of the effects of migration, of decolonialism and with transatlantic black identity in mind.

Machteld Leij on Electric Dub Station of Antonio Jose Guzman (Panama 1971)

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Ronald Muchatuta

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Black lives have always mattered through colonialism, the Atlantic Slave Trade, the Jim Crow era, apartheid, and currently, with the ongoing abuse of Black bodies by the police. The atrocity committed against People of Color around the world clearly indicates that social engineering against us has birthed all the negative repression.

Barnabas Ticha Muvhuti talks with the Zimbabwe-born Ronald Muchatuta
Installation view, Stellenbosch Triennale, 2020, image courtesy Melrose Gallery

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Musa N. Nxumalo: Hashtags as Signpost of Power

MusaInstallation View

Nxumalo’s exhibition was an exercise in how the black male body seeks to find a form of redemption in a culture that is gluttonous with representation and its capability to take voice and power from its subject.

Themba Tsotsi on the work of Musa N. Nxumalo
Installation view We are running out of hashtags, SMAC Gallery, 2020

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Fabrice Monteiro

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Photography has always been of great importance, from the first postcards produced in colonial times that were major tools for racial propaganda to the proliferation of local studio photographers like Seydou Keita in Mali and Mama Casset in Senegal that gave early-twentieth-century Africans the opportunity to choose how they were represented

Evan D. Williams in conversation with Belgium-born, Senegal-based Fabrice Monteiro
Holy II, from Vues de l’esprit, 2012

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