Together, the works speak to the creative act of migration and the potential for everyday objects to simultaneously contain culture, but also cause it to confront other forces surrounding it – namely rapid urban development, technology and the digital economy, which accounts for billions of connections between individuals and multinational companies through mobile devices and data.
We should have more shows about Black creativity in the UK, exploring the dialogue between Black artists and how they are communicating the Black experience. There have been some exhibitions on Black creativity before, but often they aren’t given such a big platform or even if they are, it’s cyclic, a programming trend that’s then forgotten again for another decade. For instance, I remember in 2005, there was Kerry James Marshall at the Camden Arts Centre, Back to Black at the Whitechapel and Africa Remix at Hayward Gallery. All fantastic shows but then there was no follow up straight afterwards. I would advocate that it needs to be more consistent.
Zak Ové in conversation with Christabel Johanson
Richard Rawlings, The True Crown, 2018, courtesy the artist
Spiritual practices, linked to masquerade inspire much of my approach to making and thinking through my research. I think my work is very much a mash up, a mash with masquerade and afro-futurism.
Raquel Villar Pérez in conversation with Alberta Whittle
Celestial Meditations II, 2017
Africanah.org at 5: We celebrate the 5th anniversary of this magazine with the re-publication of a number of remarkable essays. This article of the South African artist and writer Thuli Gamedze was published in April 2015. It talks about the student protests in her country in that year. On a general, even universal level however it talks about the correction of the history by tearing down monuments that were once made to hero-ize a person or an event, but that now can and must be seen as symbols of a malign colonial system.
Thuli Gamedze challenges colonial and other monuments.
Detail of a site specific work of Lungiswa Gqunta.
Matloga’s work is political, personal and universal at the same time. Growing up in a deeply troubled, racist society does leave its traces. These are counterbalanced by family life, love, friendship and the joy of living.