Arena for Contemporary African, African-American and Caribbean Art

Archive: articles

Seniority First? On Mastery And Techniques in Ugandan art.


Most of the artists in this lot are locally consumed and no where on the international art scene. Apart from Sanaa Gateja, the rest wouldn’t be masters in the eyes of Simon Njami. Njami is right and there is a need for Ugandan practitioners to play at the big stage because there isn’t much the industry at home can offer. And also, is technique and aesthetics enough to bestow the title of master on one? What happens to the narrative, the stories around us, the pressing issues around us?

Matt Kayem on the discours: who can be called ‘master’?
Sanaa Gateja

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Thabiso Sekgala: Here Is Elsewhere


In a space where racism and inequality are still challenges, Sekgala captured the disillusionment of “Mandela’s children” who continue living through poverty and deprivation. Yet despite the challenges of their material world and living situation, we see that “home” goes beyond physical limitations and wealth. The empathic and compassionate images the artist leaves behind in this exhibition are the images he wanted the world to remember as South Africa.

Christabel Johanson on the South African photographer Thabiso Sekgala

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Derek1Conspicious Arrangement2015 at 5: We celebrate the 5th anniversary of this magazine with the re-publication of a number of remarkable essays or interviews. The interview Rob Perrée had with Derek Fordjour, almost 5 years ago, was remarkable because of what happened later on with his career. The Ghanaian-American artist was at that time a starting artist, promising, known in small circles. Now he is one of the most successful black artists in the US.

Conspicious Arrangement, 2015

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Mischeck Masamvu

MasStudded forehead2018

Through inundating the canvas with paint, it will be demonstrated that Masamvu through the facility of the canvas has acquired a spiritual outlet for expressing not just his emotions, but also the means to represent the body in its dynamic and corporeal forms. The artist states that this exhibition was ‘’…celebration and … a dance’’.

Themba Tsotsi on the work of the Zimbabwean artist Mischeck Masamvu
Studded Forehead, 2018

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In Conversation with Kresiah Mukwazhi

Kreshia Sourcing bras

Self-fulfilment is the primary reason I do the work. That is why I insert and immerse myself in the work. Even when I am doing painting or textile work, I find a way of portraying self in the work. Raising awareness of issues is the reason I do live art. I like it because the impact is direct and immediate. I almost force my audience to react instantly.

Barnabas Ticha Muvhuti in conversation with Kresiah Mukwazhi

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