africanah.org

Bikoro’s visual practice is, in fact, an organic and consequential research of modes of remembering, recollecting, rewriting, rethinking and reshaping histories and temporalities. Each performative gesture, each written or spoken word, installation or moving image taking part into the artist’s polyhedral research, is just a segment of a dense apparatus of references and correspondences.

Chiara Cartuccia on Nathalie Mba Bikoro

Future Monuments: Re-inventing the Human Memorial, 2014, courtesy the artist

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“Filmmaking arrived in Africa with the intended function of ‘civilising’ the African population. The way that they would do this was through the introduction of western norms and ideals portrayed in film, which was a simultaneous strategy of erasure and dismissal of African existence as this exotic and superstitious experience. The role of film in this sense was a way to render our own stories useless to us.”

Filmmaker Mzonke Maloney in his conversation with art critic Thuli Gamedze

Afripedia: Senegal film still Omar Victor Diop, 2014 (28-min-30-Courtesy-of-Stocktown-Films)

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He uses comedy to shine a light on the seedy aspects of modern Kenyan life. Those who do not pay attention to his message and those who cannot digest the satire tend to misconstrue his motives.

Zihan Kassam on the Kenyan artist Michael Soi

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From October, 4^th 2016 to January, 15^th 2017, the Musée du Quai Branly—Jacques Chirac in Paris presented The Color Line: African-American artists and segregation. The exhibition concluded with an exciting day and half symposium bringing together eminent specialists in American art.

Helene Beade reviews this exhibition within the context of France/Paris.

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Ephrem Solomon set out to introduce me to the group of artists he grew up with and who, like him, use their art as a platform for social commentary. I return home grateful and fulfilled; the visits I have made with him have brought me closer to the heart of modern Ethiopia.

Rosalie van Deursen gives the floor to Ephrem Solomon.

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