This essay considers the photographic work of Sanlé Sory and Ambroise Ngaimoko as part of the flourishing music, cinema, and art scenes in Burkina Faso and the Democratic Republic of Congo (DRC), where studio photography was a part of the creative expression and self-styling of these nascent republics.
The complicated history of painting is taken up by British-Kenyan artist Michael Armitage, whose work respond to contemporary issues and events in Kenya through the ghosts of past picturing.
In this short virtual interview, C-MAP Fellow Nancy Dantas discusses Generator—a conceptual and infrastructural proposal, hinged on restitution—envisioned by curators Azu Nwagbogu and Clémentine Déliss as part of their long-term program for the AAF, Lagos.
In an effort to consider the variegated impacts of COVID-19—a virus with a global reach—we interviewed curators and directors from institutions around the world about how the pandemic has affected their institutions.
James Barnor (b.1929) is a pioneering figure in Ghanaian photography. He documented the decolonizing processes and realities of the postcolonial context in Ghana, as well as the diasporic, metropolitan life in London.
Is the globe of globalization the same as the globe of global warming?
The panel examines historical cases of the migration of images and knowledge across cultures and temporalities.
The move to diversify art historical narratives is often accompanied by a search for commonalities. Instead addressing a need to acknowledge radical difference and untranslatability, each presenter in this panel approached the question of the incommensurable, interrogating tensions between a global approach and site-specific study.
The discussion raises contemporary questions of restitution of cultural property taken during periods of colonial expansion.
A key contradiction of globalization is its facilitation of the movement of goods while the movement of people is increasingly restricted. Furthering this tendency, biometric technologies have expanded the traditional notion of the border, regulating the circulation of gendered, racialized, and classed bodies.
Responding with imagination to the brutality and violence of Sierra Leone’s civil war (1991-2002), Abu Bakarr Mansaray’s monumental drawing Sinister Project depicts a fictitious war machine with careful detail that reveals the artist’s background in science and engineering.
Chéri Samba likes to throw people off. The cartoon-like texts with direct messaging that frequently figure in Samba’s complex visual universes function to maintain authorial control. As the artist notes, they are “a way of not allowing freedom of interpretation to the person who looks at my painting.”