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In November last year Sasha Dees 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 her research she will be keeping a travelogue for Africanah. Her first stop in the region was Ayiti (Haiti). In March she reported about her stay on Korsou (Curacao). In the April edition Aruba was reported on. Jamaica followed in May. Now the Cayman Islands and the US Virgin Islands are on.

Tony Capellán, Mar Caribe, 1996.

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My paintings are also a testimony to the beauty and intelligence of pre-colonial societies and a tribute to how these societies were organised. The way in which I place these societies in relation to the present is rather like tracing a traditional and cultural knowledge that was crushed by the rise of industrial power.

Christabel Johanson meets Eddy Kamuanga Ilunga in London

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1990 is when I started doing the bead work in Uganda and practice has spread all over Uganda, to Kenya, Rwanda and now South Africa. The beads have now become a Ugandan brand and when you google ‘paper beads’, Uganda has to come up somewhere.

Matt Kayem interviews the Ugandan artist Sanaa Gateja, the Bead King

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As was often the case with its predecessors, the role of social developments is very much apparent in the works of the participating artists of Dak’Art 2018. There is no lack of sensible content. Fortunately that does not lead to pamphletistic art. It is precisely the power of a lot of contemporary African art that content and form are integrated.
The Dak’Art remains a biennial that counts.

Rob Perrée on the 13th edition of Dak’Art in Dakar, Senegal

Wallsculpture of Olanrewaju Tejuoso (detail)

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But caught between limits of representational possibilities and the contradiction of colonial representation, here portraiture finds itself in an interesting aporia. That is between an enchanting representation, and the existential reality of knowing oneself as a problem for humanity. This performative contradiction creates problems for the lauded humanizing acts of the photograph as a general conflict in Black Chronicles IV.

Athi Mongezeleli Joja on the travelling exhibition Black Chronicles IV

Wellington Majiza, The African Choir, London 1891. By London Stereoscopic Company.©-Hulton Archive/Getty Images. Courtesy of Hulton Archive and Autograph ABP, London.

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