“The new generation is dynamic and vibrant and they are fighting for an awareness of art in Ethiopian society in a different way than their predecessors. In their eyes, art is not about simply creating aesthetic images but about raising consciousness about contemporary societal topics. All these artists find it important to be socially engaged and create awareness through their art and their artistic collaborations.”
Rosalie van Deursen on contemporary art in Addis Ababa.
“Razia Barsatie plays an important role in the Surinamese art world, her work and approach to teaching marks that of a new generation. Paintings of the faya lobie, djompo voetoe and the spectacular inlands are an important part of the Surinamese cultural expression. Alongside are those artists such as Razia Barsatie who touch upon the understanding of their culture, their history and the entrenched prejudices that are still aspects of daily life.”
Lih-Lan Wong about the young Surinamese artist Razia Barsatie.
“Zanele Muholi not only wants black lesbians and transgender individuals to be portrayed in a more honest and respectful way, her photos are also a visual protest against the sexual assaults and violence directed towards the LGBT community. On many occasions she has made it clear that she is more than a photographer, she wants to be known as an activist.”
Rob Perrée on South African Zanele Muholi.
With documentary photography becoming more popular in South Africa and many of John’s students being involved in it, they are writing their own history. Most of them find it very interesting to photograph the struggling, working class, but also the upcoming middle class serves as a subject for many projects.
Jorrit Dijkstra interviews John Fleetwood of the Market Photo Workshop in Johannesburg.
“His latest exhibition, he says, is inspired by childhood memories. Perhaps by diving into his early life, his beginnings, he hopes to better understand his vantage point. Although highly unlikely, if we are lucky, we might get a quote or two on what he has discovered about himself. Fortunately for Gor, even though he is so headstrong and very efficient in fleeing from interviews, his work in most instances is provocative, tells its own story, and can in fact survive and thrive without his presence.”
With these words Zihan Kassam concludes her essay on Kenyan artist Gor Soudan.