'Tribute to Artists in Notre-Dame' Exhibition at the Arab World InstituteNEWS September 17, 2019
Tribute to Artists in Notre-Dame
Arab World Institute (IMA) - Museum (Levels 5,6 & 7)
21 September - 20 December 2019
Translated from French using Google Translate
Donors Claude and France Lemand, upset by the fire that devastated, on April 15, the iconic Notre-Dame Cathedral in Paris, asked artists from the Arab world and diasporas, also affected by this tragedy, to give their testimony.
On the occasion of the 36 th European Heritage Days, the Museum of the Arab World Institute unveils its first "Tribute artists to Our Lady" , exhibition of works of the first artists to have answered the call: the Franco-Moroccan Najia Mehadji, Moroccan Mohamed Lekleti from Montpellier, Syrian Hamburger Boutros Al-Maari and Iraqi Londoner Dia Al-Azzawi.
This exhibition will be followed by other skirmishes. Thus, over the seasons, will be constituted a collection of works in tribute to Our Lady, by artists from the Arab world and diasporas sensitive to this theme and totally free of their expression and their means - the same freedom that had Claude and guided France Lemand in the constitution of the collection Tondo of East and West or 3 e pane Portrait of the Bird-Who Do Are Not.
ZEITZ MOCAA opens first ever children-focused exhibition 'And So The Stories Ran Away'NEWS September 10, 2019
And So The Stories Ran Away
Curated by Liesl Hartman & Richard Kilpert
Zeitz MOCAA, Level 1 - Tunnels
08 September - 30 March 2019
And So The Stories Ran Away sees students from Ruth Prowse and Michaelis working under the mentorship of artists: Jill Joubert, Isabelle Grobler, Lynette Bester, Liesl Hartman and Richard Kilpert.
Curated by Zeitz MOCAA’s Centre for Art Education the exhibition is titled And So The Stories Ran Away, and is an innovative collaboration between the museum and Cape Town’s leading art schools - the Michaelis School of Fine Art, the Ruth Prowse School of Art, as well as the Nyanga Arts Development Centre.
This exhibition celebrates stories from Africa and has been created to engage the imaginations of children as the primary audience - inviting them into a multi-sensory, interactive experience with works of art.
“The title is inspired by a Nigerian Ekoi legend of how Mouse visits the houses of all people, gathering stories that she weaves into her story children,” says co-curator and CFAE head, Liesl Hartman.
Omenka publishes Artist Dossier on Péju AlatiseNEWS September 11, 2019
OMENKA - ART - INTERVIEW
Artist Dossier on Péju Alatise
By Oyindamola Olaniyan POSTED 21 August 2019
Born in 1975, Péju Alatise is a Nigerian artist, poet, and writer, as well as a fellow at the Smithsonian National Museum of African Art. She earned her undergraduate architectural degree from Ladoke Akintola University in Oyo State, Nigeria. While earning her degree, Alatise began to explore her interests in art by visiting Jakande, a crafts market in Lagos. There, she practised various media, including painting, sculpting, and jewellery making. This experimentation led her to begin her art career with painting, subsequently branching out to an interdisciplinary practice, using beads, cloth, resin, and other materials in her work. She would later focus on sculpture, using her art to make statements about social issues, while incorporating literature, symbolism, and traditional Yoruba mythology.
Architecture has a huge influence on her work, Alatise says, especially when it comes to space and structure. In a recent interview, she said, “You can’t go through six years of architecture and not feel structure. Architecture makes you obey all the laws. It makes you so aware of physicality.” As a self-taught artist, she appreciates the huge role architecture has played in her artistic development.
Dakaractu TV reports on 'Sunu Thiossane', the current Exhibition at the Dakar Blaise Diagne airport featuring Soly CisséNEWS September 6, 2019
DAKARACTU - HOME - TELEVISION
Diass-Aibd: "The airport is an ideal vector to make known the artists of Senegal" (Xavier Mary)
Published 5 September 2019
Translated from French using Google Translate
As part of the animation of its cultural platform, Aerog'Art, Limak-Aibd-Summa (Las), manager of the airport Dakar Blaise Diagne organized the exhibition "Sunu Thiossane".
For this third edition, the Aibd has hosted the works of Senegalese painter Soly Cissé. Who advocated the erection of a museum of contemporary art to preserve the works of all the old artists disappeared. According to the Dg de Las, Xavier Mary, "the airport is an ideal vector to make known the artists of Senegal".
The Exhibition runs 01 September - 31 October 2019
The Art Newspaper writes 'For African artists, it pays to be female'NEWS September 2, 2019
THE ART NEWSPAPER - NEWS - ART MARKET
For African artists, it pays to be female
By Anny Shaw POSTED 13 August 2019
Four women top the auction market for African art as collectors look to 'fill gaps in the market'
Being pale and male is rapidly going out of fashion at auction and, as a result, demand-and prices-for women artists of different ethnicities is on the rise. Nowhere is this more evident than in the African art market where four women lead in terms of auction prices.
They are: Marlene Dumas ($6.3m), Julie Mehretu ($5.6m), Irma Stern ($4m) and Njideka Akunyili Crosby ($3.4m). Their prices eclipse the likes of Nigeria's star Modernist painter Ben Enwonwu ($1.7m), El Anatsui ($1.5m) and William Kentridge ($1.5m).
It should be noted that two of the four women are white and only one—Irma Stern—lived on the continent until she died in 1966, in South Africa. Indeed, Marlene Dumas could equally be considered European (she has lived in Holland since 1976, representing the country at the Venice Biennale in 1995), while Ethiopian-born Julie Mehretu is based in New York and Nigerian-born Njideka Akunyili Crosby in Los Angeles.
ARTnews publishes: 'At Auction, Returns for Works by Women Artists Are Outmatching Those of Men: Report'NEWS September 2, 2019
ARTnews - MARKET - NEWS
At Auction, Returns for Works by Women Artists Are Outmatching Those of Men: Report
By Annie Armstrong POSTED 01 August 2019
Male artists have dominated auction results for as long as auctions have existed, but according to a new report, women are winning out in the field in at least one respect.
Over the past six years, works by women artists that have returned to auction have seen price gains of about 72.9 percent on average, compared with just 8.3 percent for works by men. The figures come from the team behind Sotheby’s Mei Moses Indices, which tracks the auction world through repeat sales.
Of course, it’s worth emphasizing that we are merely talking percentages here. Because men make up a much larger percentage of the market, and because their art generally trades for higher prices, more money was spent—and made—by the work of men on the auction block during the studied period.
'Intricacies: Fragment and Meaning' Exhibition at AICON Gallery, New YorkNEWS August 8, 2019
Intricacies: Fragment and Meaning
8 August – 14 September 2019
Participating Artists: Mequitta Ahuja (b. 1976, USA), Péju Alatise (b. 1975, Nigeria), Rina Banerjee (b. 1963, India), Faiza Butt (b. 1973, Pakistan), Saba Qizilbash (b. 1977, Pakistan)
Aicon Gallery is pleased to present Intricacies: Fragment and Meaning, an ambitious group exhibition that brings together artists who scrutinize the milieu and distill from it modes of production that are both ordered and complex. Saba Qizilbash and Faiza Butt from Pakistan, Rina Banerjee and Mequitta Ahuja from the US and Péju Alatise from Nigeria offer works that transcend the sum of their myriad parts. Presented together, the various works in the exhibition offer the viewer a liminal space to absorb and contemplate the relationship between part and whole, fragment and meaning. Through their use of meticulous detail and balance, the artists featured here unveil and elaborate the intricacies that lie at the core of the human condition. These artists adopt the gestalt format in construing images thus offering unique perspectives on issues of scale and focus in visual art.
Diptyk 'Contemporary African Art: A Brief History of a Future Market'NEWS July 25, 2019
DIPTYK - NEWS - ART MARKET
Contemporary African Art: A Brief History of a Future Market
By Emmanuelle Outtier POSTED 25 July 2019
Translated from French using Google Translate
Twenty years after the sale of part of the Pigozzi collection, a look back at the evocative evolution of contemporary African art whose valorization goes through Paris, London and New York.
If we had to remember a single date marking the start of the contemporary African art market, it would probably be the one of June 24, 1999. That day, Sotheby's organizes in London the session "Contemporary African art from the Jean Pigozzi collection ». We no longer present this collection patiently constituted by the Paris gallery owner André Magnin who bought, on behalf of the heir to Simca, tens of thousands of works while furrowing Africa during twenty years. The 1999 dispersion marks a turning point not only because it is the first major sale organized by a leading company in the international art market, but also because it is a remarkable achievement. The price of the works is then low (not exceeding $ 18,000) and almost all are sold (2% unsold only), a rare phenomenon that can be explained both by the pedigree "Pigozzi" and by the purpose of this sale, the proceeds of which are shared between Unicef and the endowment of the Jean Pigozzi Prize for Contemporary African Art.
First Issue of BizArt Magazine features Vivien Kohler 'Found Objects'PRESS July 1, 2019
Business and Arts South Africa - BIZART_ZA - Issue_01 - Winter/Spring 2019
FOUND OBJECTS: The Figurative Works of Vivien Kohler
I am fascinated both by the ability of the human spirit to transcend ‘the conceptual decay’, and the unique liminality of the post-apartheid South African city. My works illuminate the contrasts of lived experiences by showing people mentally cocooned from, yet physically enveloped by, life’s detritus. I incorporate, cast and paint discarded, packaging material as a signifier of transience, migration and displacement of people on the ‘periphery’.
— Vivien Kohler
Experimental mixed media painter, Vivien Kohler, makes art that is infused with South African complexity. Socio-political ripples and reflections are inherent in his work but rise from the pieces rather than being the point of them. At the simplest level Kohler takes found objects and transforms them into something new. His work ranges from figurative snapshots of urban South Africa through to the abstract and metaphorical. His mid-career work features sleeping human forms surrounded by their stuff. The forms look like the cardboard Kohler has found in the throwaway corners of the city but they are actually realistically painted images of those finds. As such they offer neatly re-contextualised snapshots of the shrouded figures most South African encounter every day in their peripheral social vision.
'Songsmith & the Living Will' talk by Jenna Burchell at Creativate Digital Art Festival 2019NEWS June 26, 2019
National Arts Festival - Creativate Digital Art Festival
'Songsmith & the Living Will' talk by Jenna Burchell at Creativate Digital Art Festival 2019
Grahamstown Foundation - Ntsikana Gallery
1820 Settlers Monument Fort Selwyn Drive, Grahamstown, South Africa
Friday 28 June 2019, 12:30 -13:30
In this talk, the artist Jenna Burchell shares her process and experience in the creation of her internationally acclaimed Songsmith project. She explores the nonsensical, yet beautiful, depth in technology when it is used with art; especially when it appears to act according to its own will. She poses the question; how can we merge art and technology into our physical world so that we can access knowledge otherwise
invisible to us.
Jenna is represented by Sulger-Buel Gallery in London and Everard Read Gallery in Johannesburg.
Diptyk 'In Venice, a contrasting African presence'NEWS June 26, 2019
DIPTYK - NEWS
In Venice, a contrasting African presence
By Roxana Azimi POSTED 26 June 2019
Translated from French using Google Translate
"May you live in interesting times", enjoins the international exhibition of the 58th Venice Biennale. In addition to Ralph Rugoff's proposal, which brings together some of the world's leading artists such as Njideka Akunyili Crosby, Zanele Muholi, Julie Mehretu and Michael Armitage, the African presences reflect the different levels of artistic soft power of the continent. From Ghana, which presents artists from the diaspora in a scenography signed by one of the most famous architects on the planet, in Madagascar who takes an "outrenoir" solo show supported by the highly respected Revue Noire, there are certainly presences brave but a little wobbly like Ivory Coast or Zimbabwe, "clandestine" pavilions like Algeria or the Egyptian kitsch.
She has dreamed about it for eighteen years. Nana Offoriatta Ayim's wish to see Ghana participate in the Venice Biennale is granted thanks to a perfect alignment of the planets. The country, which is growing by 6% a year, wants to boost tourism and bring back the diaspora. As a result, the public allocation for tourism and culture has increased by 120% between 2014 and 2018. We come back from afar, as Ghana has been weakened by repeated coups and chronic monetary instability.
Afrikaris writes 'Two artists in Tunisian art scene, Thameur Mejri and Slimen Elkamel'NEWS June 25, 2019
Afrikaris - Blog & News
Two artists in Tunisian art scene, Thameur Mejri and Slimen Elkamel
By Maxence Zabo POSTED on 24 June 2019
Engaged for the development of the contemporary Maghrebi artistic scene, the Attijariwafa Bank Foundation opened a series of meetings on June 13, 2019, in Casablanca (Morocco). The theme "Contemporary African Art: what perspectives for which markets?” allowed Mouna Kably (Head of the Publishing and Debates Division) to highlight the "historical cultural time of the African art scene and the enthusiasm generated by the works of her young artists". This event gives us the opportunity to present to you two emerging Tunisian artists, Thameur Mejri and Slimen Elkamel.
These two painters, formed at the Institute of Fine Arts in Tunis, went to the soaring of the plastic creation of the country since the Revolution of Jasmin in 2010. This period of political and social crisis, resulting in a liberation of popular expression, offers fertile ground for contemporary artists. Many questions are raised, on the body, on religion, on morale and democracy, the answers are not yet unanimous.
Zim artists' pavilion marvels thousands in VenicePRESS June 24, 2019
ZBC News Online - Entertainment and Arts
Zim artists' pavilion marvels thousands in Venice
Zimbabwean visual artists who recently attended the Venice Bienale Arts Exhibition have returned home after acquiring fresh ideas on how to come up with internationally rated artworks.
While in Venice, Italy, the Zimbabwean Pavilion left various visitors amazed at the narrative that was being exhibited.
Based on the theme: “Soko Risina Musoro”, derived from the late nationalist Hebert Chitepo’s poems, the Zimbabwean exhibition marveled those who passed through the stand at the showcase.
Neville Starling and Georgina Maxim said attending the Venice Bienale left them yearning to start working hard being exposed to various ideas and knowledge from other international artists.
“It was a great experience and getting to see the ideas behind other artists’ work was mind blowing,” said Starling.
“Art is a beautiful thing and it gets even better when you interact with other international artist whom you can learn one or two things from and incorporate it into your work,” said Maxim.
'Concerto para aves' (Concert for birds) curated by Tiago Sant'AnaNEWS June 19, 2019
Concerto para aves (Concert for birds)
Curated by Tiago Sant'Ana
14 June - 27 July 2019
Concerto para aves (Concert for birds), curated by Tiago Sant'Ana, brings together 15 artists that have in their poetics the birds and birds as metaphor of liberties, imprisonments and possibilities of escape. Through several languages, such as photography, sculpture and engraving, the exhibition thus proposes to demonstrate how in various scenarios and research these animals are used as a subterfuge to trigger debates about nature and about humanity itself. Participating Artists include Adriano Machado, Annika Kahrs, Ayrson Heráclito, Calasans Neto, Carlos Martiel, Dona Aletícia, Edsoleda Santos, Efrain Almeida, Georgina Maxim, Helen Salomão, Ieda Oliveira, João Oliveira, Mario Cravo Neto, Mestre Didi e Zé Garcia.
"The exhibition has basically three nuclei: one closer to Afro-Brazilian religions; another investigating the relations between humanity and nature - a kind of becoming-bird; and a last one with artists that somehow present studies on the birds" comments curator Tiago Sant'Ana.
After "Kaurís", between March and May, Concerto para aves (Concert for birds) is part of a series of four exhibitions to be promoted by the Goethe-Institut Salvador this year, in order to relate the production of local artists and productions Vila Sur Arts Residency Program - such as the curator and visual artist Georgina Maxim (Zimbabwe) and filmmaker and visual artist Annika Kahrs (Germany).
Al Arab Magazine reviews the Group Exhibition 'YMA (Young Moroccan Artists)'PRESS June 12, 2019
Al Arab Magazine
Contemporary art transcends the tradition of skill, style and rules of the continent
By Dr Charafdine Majdouline PUBLISHED 12 June 2019 (Page 15)
Translated from Arabic with Google Translate
Art is linked to an emergency cultural perception connected to the exploits of the consuming society and the chaotic market system
Human creativity and art are no longer dependent on the identity of the identity, but rather on a common denominator, especially with the emergence of the global citizen, following the spread of globalization that created similar societies. Thus, an art that does not place its first bet on identity within its traditional borders appears to be trying to evade all that hinders its universality and its dimensions, issues and methods.
In his book on contemporary art, British historian and art historian Julian Estelabras used a comparative comparison between contemporary art, the market economy and the globalized system, where freedom is irrational and unchecked.
Slipstream News feature Soly Cissé 'Men and Lives'PRESS June 12, 2019
Slipstream - UK - Arts Press
SOLY CISSE: Men and Lives – Sulger Buel Gallery
By Eddie Saint-Jean POSTED 10 June 2019
Senegalese painter and sculptor Soly Cissé presents a body of work which drives expressive channels through figurative subjects – with a tilt towards abstraction. Humour, irony and, of course, colour are underscored emphatically.
The work is an examination of human relations and the human psyche. His subjects are herded in conversation, yet set apart in individual worlds with the inevitable overlap displayed through this ‘Expressive’ use of colour.
Sulger-Buel Gallery, 51 Surrey Row, Unit 2 La Gare, London SE1 0BZ. Exhibition runs 06 June – 31 July 2019.
The New York Times writes 'Kehinde Wiley, Spoiler of Artists'NEWS June 6, 2019
The New York Times - Art & Design
Kehinde Wiley, Spoiler of Artists
By Dionne Searcey POSTED 4 June 2019
He gained fame for his portrait of President Obama. Now he is opening Black Rock, a luxurious residency program in Senegal.
DAKAR, Senegal - The art star Kehinde Wiley is standing in the middle of his spacious bedroom with mint green walls looking like a little kid who can't wait to blurt out the surprise he's been keeping secret.
Everything in his new Black Rock studio and artists' residence in Dakar is fabulous, of course. The 20-foot wooden entry door, the floor-to-ceiling windows, the infinity pool, the sauna, the bath robes and alarm clocks embossed with the Black Rock golden insignia, the lush garden in a region tucked under the Sahara.
ARTcapital Ghana features 'Soly Cissé: Probing The Psyche'PRESS June 5, 2019
In addition, there are thick layers or blobs of paint, chaotic brushstrokes and script - letters and numbers which serve to transmit tension and intrigue while possibly telegraphing arcane hermetic messages.
"I think and reflect a lot about humans and their relationships. Relationships between humans, the confrontation between humans and nature, humans and religion and then I challenge myself and experiment", he explains.
Cissé came of age after violent political unrest had hit Dakar and a new future was being negotiated in a piecemeal manner.
Elite Living Africa features Soly Cissé 'Men and Lives'PRESS June 4, 2019
Elite Living Africa - Connoiseur
Soly Cissé’s ‘Men and Lives’ exhibition set to open in Sulger-Buel Gallery
04 June 2019
Bright and bold, Senegalese artist Soly Cissé’s latest exhibition ‘Men and Lives’ will debut in London’s Sulger-Buel Gallery.
Born in 1969, the Senegal-born artist has carefully crafted his career as a painter, draughtsman and sculptor. Influenced by the vibrant culture of his hometown in Dakar, Cissé uses graphic imagery to create fantastical worlds filled with surrealism, cramped space and total disarray. His work has featured in galleries across the globe, including France, Italy, Germany, Switzerland and Spain.
Within ‘Men and Lives’, each picture explores the darker elements of the human experience, embodied with warped faces, deranged silhouettes and startling lack of social interaction between figures. However, Cissé’s playful use of colour provides an undeniable flair to his art, bringing the precariousness of human experience to the forefront with a whirlpool of similar, yet unmerged forms.
Bringing this disharmony to light, Cissé goes so far as to divide some of his canvases in two, providing onlookers with two different perspectives in a manner which is, in equal parts, separate and wholly together.
'r3: FORM4re' Solo Exhibition by Vivien Kohler at Gallery MOMONEWS May 29, 2019
Vivien Kohler r3: FORM4re Solo Exhibition
Gallery MOMO, Johannesburg
06 June - 06 July 2019
Opening Reception: Thursday 6 June 2019, 18:00 - 21:00
Gallery MOMO is proud to present its first solo show by Vivien Kohler
“I am fascinated both by the ability of the human spirit to transcend ‘the conceptual decay’, and the unique liminality of the post-apartheid South African city. My works illuminate the contrasts of lived experiences by showing people mentally cocooned from, yet physically enveloped by, life’s detritus. I incorporate, cast, and paint discarded packaging material as a signifier of transience, migration, and displacement of people on the ‘periphery.’
Circumstances do not define individuals and communities where immense complexities and layers exist. From badlands, esteemed, revered, and adored individuals have bloomed. I am driven to restructure the residue, to find meaning within the chaos and build on the inherent positivity, optimism and history that emanate and flow from the cracks. These works are an explorative redefining of the identity of people in this place called home." - Vivien Kohler
Elite Living Africa features 'YMA (Young Moroccan Artists)'PRESS May 27, 2019
Young Moroccan Artists exhibition to visit London gallery
Elite Living Africa
An eclectic collection of different concepts and mediums, the YMA (Young Moroccan Artists) exhibition is coming to London’s Sulger-Buel Gallery this month with the support of the Embassy of the Kingdom of Morocco in the UK.
London’s Sulger-Buel Gallery has been responsible for collecting and studying African art since 2014, with its creator Christian Sulger-Buel gaining experience in the field over more than 30 years. With this in mind the travelling YMA exhibition encapsulate the wide range of art being created by upcoming Moroccan artists, with each artist taking inspiration from their unique environments and upbringing for a vast and extensive visual journey.
Among the artists featuring in the exhibition is Nafie Ben Krich. Born in 1988 in the northern city of Tetouan, Nafle is a connoisseur of the absurd and tragic, poking fun at modern consumerism through his drawings and sculptures. One of his strangest and most mesmerising works, Chicken Ball II (pictured above), utilises chicken feathers and gold leaf on polyester mould to create headless and wingless hens: a careful blend of ridiculous and luxurious which is, in equal parts, beautiful and very strange.
Pélagie Gbaguidi at ‘Race, Power and Culture’ Symposium in BrusselsNEWS May 24, 2019
Symposium: Race, Power & Culture
BOZAR Centre for Fine Arts
Studio, 23 Rue Ravenstein, Brussels 1000
22 - 24 May 2019
A critical look at Belgian Cultural Institutions
With this Symposium, BOZAR holds its last event in the framework of the project Dis-Othering: Beyond Afropolitan and Other labels. This introduction day aims at framing the event within the context of this Creative Europe Project. We will discuss the different ways in which 'Othering' and 'Dis-Othering' practices are present in Belgian and European Cultural Domain. A particluar attention will be given to the Dis-Othering research Mapping Diversities.
The Symposium is spread over three days:
Day 1: Dis-Othering: beyond Afropolitan & Other Labels
Day 2: Cultural Institutions as a matter of contention
Day 3: Afro-what? Whiteness and the categorization of the 'Other'
'Multiple Transmissions: Art in the Afropolitan Age' Exhibition at WIELSNEWS May 23, 2019
Multiple Transmissions: Art in the Afropolitan Age
Curated by Sandrine Colard
WIELS Contemporary Art Centre
25 May - 18 August 2019
Opening reception: 24 May 2019, 20:00 - 22:00
The exhibition Multiple Transmissions: Art in the Afropolitan Age, takes as its starting point the group of African artists who completed residences at WIELS between 2015 and 2019. Today an integral component of the art world landscape, residencies put artists in motion around the globe, while simultaneously immersing them in one place for a definite period of time. Artists, and African artists in particular, have become successive locals of multiple places and cities: they have become “Afropolitan” artists. Mainly developed by the thinker Achille Mbembe, the concept refers to the transnational cultures and aesthetic of 21st century African-identified urbanites. Both on and off the continent, these artists’ mental and physical itinerancies have made their mental geographies radically plural. Created between Kinshasa, Lubumbashi, Johannesburg and Brussels, the residents’ productions are presented alongside a range of other art practices enmeshed in these global flows.
Participating Artists include: Nelson Makengo, Jean Katambayi, Georges Senga, Sinzo Aanza, Simnikiwe Buhlungu, Emeka Ogboh, Pamela Phatsimo Sunstrum and Pélagie Gbaguidi.
Al Araby TV Network Interviews curator Madiha Sebbani about 'YMA (Young Moroccan Artists)' Group ExhibitionPRESS May 22, 2019
Al Araby TV Network - Shubak Program
Al Araby TV Network Interviews curator Madiha Sebbani about 'YMA (Young Moroccan Artists)' Group Exhibition
Aired Live on Al Araby TV Network - 20 May 2019, 17:00 GMT
The YMA is a travelling group exhibition that represents young Moroccan artists working in different media and concepts that are inspired by their own unique environments. The exhibition commences at the Sulger-Buel Gallery in London in May 2019 with the support of the Embassy of the Kingdom of Morocco in the United Kingdom and will then be transported to the KFW-DEG Bank in Cologne in June 2019 as part of their cultural program which had invited Morocco as the feature country this year.
The exhibition aims at fostering a young Moroccan contemporary art scene through a multidisciplinary exhibition of artists from the same generation. The goal of the exhibition is to showcase young creative talent and the artist's sensibilities as both African and global citizens.
Filam(a)nt Exhibition at Fondation Blachere Art CentreNEWS May 22, 2019
Fondation Blachere Art Centre
23 May - 05 October 2019
Opening reception: Thursday 23 May 2019, from 18:30
Core-yarn / core yarn: spun yarn with a core, usually yarn continuous filaments.
For this new summer exhibition, the Blachère Foundation proposes to explore arcana of the thread, the weaving, the link, the braiding.
"Filam (a) nt" presents a selection of contemporary textile works by African artists, men and women, made in creative residences, kindly loaned by galleries or acquired for the Blachère Collection.
Each artist leaves fragments of their soul in their works, weaves a little of themselves into the canvas. The pieces presented are delicate, detailed, imposing, finely woven or roughly plaited, singular, with each other, telling the life that each artist breathes into each of his works.
From thread to soul to light, there is only one step. Real DNA of the Blachère company Illumination, it is the very soul. Thanks to the light wire, the creation of decorations knows no limits, except those of the imaginary, which it is pleasant to exceed non-stop.
Othello De'Souza-Hartley 'Diversifying the Portrait: Image and Identity' at Merton CollegeNEWS May 15, 2019
Othello De'Souza-Hartley 'Diversifying the Portrait: Image and Identity' at Merton College Oxford
TS Eliot Theatre, Merton College Oxford
Friday 17 May 2019, 17:00-18:45
The portrait holds a particular place in our culture. The founding of the National Portrait Gallery in the middle of the 19th century aimed to establish 'a gallery of original portraits … consist[ing] as far as possible of those persons who are honourably commemorated in British history as warriors or as statesmen, or in arts, in literature or in science' (Lord Stanhope's statement to the House of Lords, 1856). In this context a portrait is a plaudit, awarded to the already distinguished; the artist who creates the likeness is of secondary importance to the subject. But just as our contemporary approach to the writing of history no longer confines itself to 'warriors and statesmen', so too our understanding of what a portrait can be, and the values it can serve, has altered.
John Berger's Ways of Seeing (1972) established the notion of looking's relation to power, exploring how Western painting traditionally has in mind a male spectator whose 'colonizing gaze' joins the artist's as the axis of power within the work. Can this notion of 'ocular power' be subverted in portraiture by contemporary artists, in order to disrupt the status quo, depicting people and lives who may be absent from traditional histories? Indeed, does this established power dynamic even survive in our current digitised networks and drive to image the self?
Georgina Maxim mentioned by The Art Newspaper: "Venice Biennale 2019: the must-see pavilions around the city'PRESS May 13, 2019
The Art Newspaper - REVIEW - VENICE BIENNALE 2019
Venice Biennale 2019: the must-see pavilions around the city
By Julia Michalska, Hannah McGivern, Ben Luke, Eddy Frankel and Tim Cornwell POSTED 10 May 2019, 17:49 BST
An indoor beach, Mongolian throat singing and ceramic vaginas-where to go beyond the Arsenale and Giardini
Soko Risina Musoro, Neville Starling, Kudzanai-Violet Hwami, Georgina Maxim, Cosmos Shiridzinomwa
Venue: Istituto Provinciale per l'Infanzia, Santa Maria Della Pieta
The theme of the Zimbabwean Pavilion is the corrosion of family life as economic and political pressures force a growing number of people to live estranged lives abroad. Dominating the space are show-stopping paintings by UK-based Kudzanai-Violet Hwami. At 26, Hwami is one of the youngest artists in the Biennale but is already a rising star (she will have her first institutional show at London's Gasworks this autumn). Her work reflects the challenges of diasporic life and the loneliness that accompanies the separation from the native land. Another artist, Georgina Maxim uses handed-down items of clothing to pay tribute to the role that relatives can play in the fortunes of an individual.
"Historical Perspectives: collecting and displaying Afro-Atlantic Art" at the Goethe-InstitutNEWS May 9, 2019
Historical Perspectives: collecting and displaying Afro-Atlantic Art
13 May 2019 at 18:00
The cycle of debates "flows - holdings of the South Atlantic", initiative of the Intervalo-Fórum de Arte, is an extension project created by the postgraduate program in visual arts of the Federal University of Bahia, held with the support of the Goethe-Institut Salvador-Bahia. The goal is to stimulate a reflection on transits of objects, Constitution of specific collections, speeches and canons.Join the Gallerist and curator Thais Darzé, historian Juliana Bevilacqua and the artist and curator Georgina Maxim, from Zimbabwe, one of the current residents at the artist residence program Vila Sul.
The meeting is open to the public and admission is free.
Middle East Monitor features 'YMA (Young Moroccan Artists)' curated by Madiha SebbaniPRESS May 8, 2019
Middle East Monitor - Africa, Article, Europe & Russia, Morocco, Opinion
While Europe looks at Moroccan art, Moroccan art looks at Africa
By Naima Morelli POSTED 07 May 2019 at 4:50pm
Art institutions all around the world are paying increasing attention to emerging Moroccan artists.
Today more than ever Morocco is at the centre of political and economic interests. It's not surprising, then, that art institutions all around the world are paying increasing attention to emerging Moroccan artists. These contemporary practitioners are indeed moving in the footstep of a boundless cultural tradition, while also incorporating the fears, hopes and desires for the future of the whole country.
European galleries in particular are not missing the opportunity to let these artists take over their spaces. Enter the Young Moroccan Artists, a group of young talents identified recently by London's Sulger-Buel Gallery through their new exhibition. The show aims to foster a young, contemporary Moroccan art scene displaying the work of artists from the same generation. Working in different media and concepts, their practices are closely tied to their environment, which is at one both peculiarly African and global. A demonstration of Europe's interest in Morocco is that while the exhibition starts in London this month, it will then be transported to the KFW-DEG Bank in Cologne in June as part of its cultural programme, which has Morocco as the featured country this year.
Pélagie Gbaguidi at 'Ultrasanity' Symposium in VeniceNEWS May 7, 2019
S/HE SPOKE ‘I AND I’ FOR WE: ON THE POIESIS OF COLLECTIVE MENTAL HEALING
SAVVY Contemporary in collaboration with the Psychiatric Community of the Fondazione Emilia Bosis
Isola Di San Servolo, 30174 Venice
10 May 2019, 11:00-18:00
CHAPTER 1: SYMPOSIUM IN VENICE
The Association of Neuroesthetics (AoN) is presenting its 7th Venice Symposium on the occasion of the 58th Venice Biennale of Art. This year’s AoN symposium coincides with the first chapter of the year-long project Ultrasanity. On Madness, Sanitation, Antipsychiatry and Resistance by SAVVY Contemporary: a research, performance and exhibition project in multiple chapters in collaboration with the AoN, ifa Gallery in Berlin, the Gnaoua Festival in Essaouira, and the 6th Biennale de Lubumbashi. The event brings together cognitive scientists, clinicians, social scientists, artists, patients and neuroscientists to challenge hegemonic knowledges and healing practices in biomedical psychiatry and psychoanalysis, and to cogitate together about alternative approaches, countertechniques and their significance in and as science themselves. Hegemonic therapeutics is primarily based in a Western ethnocentrism that disregards the healing possibilities of collective, mythic and historical narratives. With this programme we endeavour to engage both discourse and praxis, disputing ideas of normality, expanding nosologies and questioning dimensions of a therapeutics grounded in scientific objectivity and ethics ignoring phenomenological and social dimensions, power agendas and collective meaning.
Contemporary And (C&) features 'Georgina Maxim: When Patience Becomes Artistic Currency'PRESS May 2, 2019
Contemporary And (C&) - VENICE 2019
Georgina Maxim: When Patience Becomes Artistic Currency
By Martha Kazungu POSTED 2 May 2019
Zimbabwean Artist Georgina Maxim’s artistic career is soaring exponentially. She was accepted for a master’s degree at Bayreuth University. Then she was nominated, with two other artists, for the prestigious Henrike Grohs Art Award. And now she has been named as one of the four artists whose work will be shown at the Zimbabwe Pavilion at the Venice Biennale. With Ugandan curator Martha Kazungu, she speaks about the patience her stitch art requires, about an artistic haven in Harare, and about the biennale.
Georgina Maxim’s personality and work can be a beautiful mesh, and her energy is always captured in her tapestries. She transforms used and found garments belonging to close relatives and friends into gigantic stories of stitches, memory, and healing. Like a painter using brushstrokes, Maxim avoids using a machine to sew and represent her impulses: She perceives stitches and hand movements as her unique mode of expression.
'Soko Risina Musoro' Pavilion of Zimbabwe at the 58th International Art Exhibition – La Biennale di VeneziaNEWS April 29, 2019
Soko Risina Musoro Pavilion of Zimbabwe at the 58th International Art Exhibition – La Biennale di Venezia
The International Art Exhibition- La Biennale di Venezia will open to discerning art lovers from all over the world on the 11th of May 2019. The Zimbabwe Pavilion has responded to the exhibition’s theme May You Live in Interesting Times through the perspective of four artists who shall form the Pavilion’s exhibition Soko Risina Musoro; which translates to The Tale Without a Head.
The theme of the National Pavilion is rooted in an epic poem by Herbert Chitepo; a Nationalist icon, which details the appearance of a sojourner at a King’s Court, who proceeds to question the socio-economic and political turmoil faced in that text’s nation state’s discourse. The identification of this text with regards the overall theme mirrors the advent and intensification of false news, and the effects that culminate from untrusted source interventions.
In any dispensation where order reigns, chaos occupies medium and the message intended can mar issues that, operationally, are smooth, ultimately weakening societies through their misinterpretations. What ensues, in the end, is the need for verification, leading to new norms were fumbling through the darkness in search of a resolution to issues are the mode of living in many states.
"What is a box" Jacques Derrida curated by Mohamed-Ali Berhouma at Elmarsa GalleryNEWS April 26, 2019
"What is a box" Jacques Derrida
Curated by Mohamed-Ali Berhouma
Elmarsa Gallery, Tunis
19 April - 19 May 2019
Elmarsa Gallery is pleased to present “What is a box?” Jacques Derrida curated by Mohamed-Ali Berhouma, from April 19 to May 19, 2019 in Tunis. A group exhibition that highlights the dynamic contemporary art scene in Tunis with a selection of new works by thirteen artists including Abdesselem Ayed, Ymen Berhouma, Omar Bey, Slimen El Kamel, Aicha Filali, Nadia Jelassi, Rym Karoui, Atef Maatallah, Ibrahim Matous, Thameur Mejri, Asma M’Naouar, Nabil Saouabi and Ali Tnani.
What is a box? Had it not been uttered by Jacques Derrida, the question and its answer would seem obvious. Under the pen of the philosopher and a fortiori the thinker of deconstruction, the question takes on the appearance of criticism and dislocates the comfortable knowledge about boxing through which we come to the world and by which we live in it. Noting that, we must recollect what urged Derrida’s pen to undermine the evidences by (de-)formulating this questioning: It sprout up when he was approaching the practice of Gerard Titus-Carmel on Cartouches. In other words, art and its practices are what prompted the philosopher of foundations to re-examine the primacy of things. In that same perspective, we address once again the same question to art and its practices.
'XXL #3' Group Exhibition at Montresso* Art FoundationNEWS April 22, 2019
Montresso* Art Foundation
22 April - 30 June 2019
The Montresso* Foundation presents within its art space from April 20 to June 30, 2019, the exhibition XXL. XXL is annual artistic event on the thematic of monumentality. For its third edition, it reveals the surprising worlds of Mohamed Saïd Chair, Poes and Skunkdog. Born from a desire to confront artists with the exercise of the oversize, XXL thus offers, beyond a purely formal form of experimentation, the freedom to make each of their writings exist in all their expansive potential. Witnesses of their times, it is through an experience that is both inescapable and immersive that the artists of this selection propose to reveal to us an intergenerational perspective, focused on our world.
It is in an ultimate dialogue that Mohamed Saïd Chair, Poes and Skunkdog break down in turns the boundaries of creation. In this way, by transcending the contours of their practices, they succeed in disrupting both space and time. By proudly embracing their time, these three generations of artists thus acheive to match their visions to their aspirations.
Diptyk 'African Lights: Advocacy for African radiance'PRESS April 17, 2019
DIPTYK - NEWS
African Lights: Advocacy for African radiance
By Emmanuelle Outtier POSTED 17 April 2019
Translated from French using Google Translate
Initially set up in Paris during COP 21, the traveling exhibition "Lumières d'Afriques" visits Rabat to raise awareness of the energy challenges facing the African continent.
"How is it that this continent is in darkness while the sun is shining all the time? " The paradox raised by the Nigerian artist Emeka Okereke is at the heart of the exhibition" Africas Lights "which brings together around the issue of access to energy, 54 artists, each representing a country on the continent. At the origin of this traveling exhibition initiated by the French NGO African Artists for Development (AAD), there is one observation: Africa has the lowest electrification rate in the world. Only 42% of its population has access to electricity, according to the 2016 World Bank report.
So, how to educate the international audience? With the COP 21 in Paris in 2015, the occasion was too good for Matthias and Gervanne Leridon, founders of AAD and also great fans of contemporary African art. The couple, whose personal collection includes more than 3,000 works, has made use of its network and its friendships made over the course of its acquisitions to convince young designers to lend themselves to the game of ordering and exhibition melting pot .
Georgina Maxim in Vila Sul Residency at Goethe-Institut Salvador-BahiaNEWS April 17, 2019
Another group of international artists arrive at the capital Bahia this April to participate in the Artist Residence Program Vila Sul hosted by the Goethe-Institut Salvador-Bahia. For two months, they will experience the routine of the city, interact with their practices and cultural agents, to deepen their artistic research and exchange knowledge, situated in apartments built on the last floor of the headquarters of the Institute. There will be four residents this season: Filmmaker and visual artist Annika Kahrs (Germany), curator and visual artist Georgina Maxim (Zimbabwe), composer Patrick Giguère (Canada) and the musician and filmmaker Segundo Bercetche (Argentina).
Officially opened in November 2016, the South Village is the third artistic residence in the general scope of 159 units of the Goethe-Institut existing on the planet, and the first and only of the network in the Global South Ecuador. Its proposal is to strengthen cultural interaction between Brazil and other countries in the southern hemisphere. Between 2016 and 2019, 68 artists and cultural agents have already experienced this opportunity.
MRS ERICA CHAMMAS JOINS SULGER-BUEL GALLERYNEWS
Please join us in welcoming Mrs Erica Chammas to the Sulger-Buel Gallery Team. We look forward to sharing in her knowledge and long-standing interest in Africa and the art of Africa, as we expand the gallery's representation at art fairs internationally. Welcome on this journey with us.
In a Sign of Things to Come, African Collectors Dominated Sales at Sotheby’s Impressive $3 Million Contemporary AfricanNEWS April 5, 2019
artnet - NEWS
In a Sign of Things to Come, African Collectors Dominated Sales at Sotheby's Impressive $3 Million Contemporary African Art Auction in London
By Julia Halperin POSTED 3 April 2019
Buyers from the continent accounted for 70 percent of the sales on the night.
Art market forecasters would do well to pay attention to yesterday's auction of modern and contemporary African art at Sotheby's London.
The fourth such sale by the auction house generated a total of £2.3 million ($3 million), just above the pre-sale estimate of £1.5 million to £2.2 million. And while that total is small potatoes in the world of high-flying auction sales-indeed, in today's dollars, it's a mere one-fifth of a KAWS-it's a notable figure in a sector that is likely to become more important in the global market of the future.
Womanscape feature 'Nigerian Artist Péju Alatise: The Rebellious Act of Freedom'NEWS March 28, 2019
WomanScape Magazine - Art & Literature
Nigerian Artist Peju Alatise: The Rebellious Act of Freedom
By Rose McInerney POSTED 28 March 2019
The creative career of Peju Alatise, a painter, sculptor, and novelist, started as an act of rebellion.
In many ways, it’s apropos given Peju’s birthplace and horrific events that unfolded in her homeland of Nigeria several years ago.
Nigeria has grown dramatically and is home to modern lifestyles that unfortunately include an extremist group of military terrorists called Boko Haram. In 2009, they staged an unsuccessful uprising against the Nigerian government and in 2014, a more radicalized warring faction kidnapped a group of 276 girls from a government school. While some of the girls were released, the majority are still captives.
This violence was absent when Peju was born in Lagos, Nigeria in 1976, but her decision to defy social expectations and create art was manifest in other religious and social confines. When Peju creates art, she speaks to the “condition of women and girls in hyper-patriarchal Nigeria, where forced marriages and kidnappings are not uncommon.”
'Listening Room' exhibition at Michaelis Galleries feature work by Jenna BurchellNEWS March 27, 2019
Curator by Nkule Mabaso, Luvuyo Equiano Nyawose & Chloë Reid.
Michaelis Upper Gallery
28 March - 19 April 2019
An exhibition of sound-based work featuring Jenna Burchell, Mira Calix, FAKA, Mitchell Gilbert, Quaid Heneke, Dani Kyengo, Jabu Nadia Newman, Sean O'Toole, Mia Thom, Kemang Wa Lehulere with Mandla Mlangeni, and James Webb.
Listening Room invites artists to contribute to an exhibition that reflects on the position and scope of audio in contemporary art. The responses present a miscellany of practices.
Art'nBox feature Mohamed Saïd Chair ahead of DESSIN(19)PRESS March 26, 2019
MOHAMED SAÏD CHAIR: DRAWING IN ACTION
By Elora Weill-Engerer
Hemingway dreamed of a contest for the best writer fisted on. So why not a cartoonist fight on a ring? Presented by the Sulger-Buel Gallery of London at the seventh edition of DDESSIN , Mohamed Saïd Chair exhibits a series of gray shades. Produced in the graphite mine, these figurative and satirical works are devoted to the ecosystem of boxers, this athletic universe of contemporary gentlemen clubs where they live.
A gym, empty. The design is structured by the horizontal and vertical lines of the poles, ropes of the ring, punching bags, heavy in the evacuated space. Everything seems hygienic and honest. Open on the outside, the platform gives no possibility to dissimulation and the circle. Yet, in many ways, this calm Olympian does not deceive: a beast slumbers inevitably. Proof of this is the strong underlying narrativity. The stability of the bag contains in power all the possibilities of its setting in motion: straight-punch, uppercut, overhand-punch or hook-punch. The fight will begin, or just concluded. Miss the only protagonists. In these environments, the gray shades of Mohamed Saïd Cher reflect the play of lights on things. Everything shines to welcome the scuffle. And what a presence! Listen, you'll see the thin lace-up shoes on the glossy floor.
The Bohemian Interviews Ghizlane SahliINTERVIEW
March 19, 2019
INTERVIEW WITH THE ARTIST BEHIND 'HISTOIRE DE TRIPES', CURRENTLY AT SULGER-BUEL GALLERY, SOUTHWARK
By Camelia Sarnefors
In 2012, Ghizlane had to create a dress with recycled materials for a magazine. Among the designers featured in the article, she was the only one to use garbage. “When I was doing this dress, suddenly I realized that this is what I want to be doing, this I what I really need to do. So little by little I stopped my embroidery studio and I created a collective, the Zbel Manifesto, with two friends and my sister. Not so long after we got a proposal by the Biennale of Marrakesh to work on a flat.”
They covered the entire flat with waste and called the projected “Pimp my garbage”. The Zbel Manifest was also invited to participate in the inaugural exposition of the Mohamed VI Museum in Rabat. “That was a really big success, […] I mean we were in the New York Times, in Euro News, in China TV.”
'SMALL ROOM' EXHIBITION AT PRIEST GALLERYNEWS
Curated by Sarah Grace
4 - 27 April 2019
A group show curated by Sarah Grace featuring miniature and portable installations.
Participating Artists: Gordon Froud I Dirk Bahman I Stephan Erasmus I Mandy Coppes-Martin I Rhett Martyn I Shenaz Mohamed I Maaike Bekker I Jayne Crawshay-Hall I Gina Waldman I George Holloway I Vivien Kohler I Neil Niewoudt I Ilene Bothma I Mark Rautenbach I Brittany Lawton I Nico Ras I Alison Shaw I Sarah Grace I Wayne Matthews
142 Jan Smuts Ave, 2193 Johannesburg, South Africa
Opening Reception: Thursday 4 April 2019, 18:00 - 21:00
Tuesdays - Fridays: 9:00 - 16:00
Saturdays: 9:00 - 14:00
More information about the exhibition available soon on the Priest Gallery website here
'AFRO, ENCOUNTERS WITH AFRICA' exhibition features work by Gastineau MassambaNEWS March 12, 2019
AFRO, ENCOUNTERS WITH AFRICA
Galerie de L'Escale
Friday 15 March - Thursday 25 April 2019
In this collective exhibition, the works of artists from the African continent dress the Galerie de L'Escale, and question the viewer about identity, the transmission of know-how, the cross-fertilization of cultures and the challenges that our contemporary society faces. Reflections of a plural and multicultural society, these artists are at the same time the guardians of the traditions and the builders of an artistic future and more broadly of a humanistic vision in answer to the great doubts of this time. To observe the elsewhere and the use of the inheritance by each one, to understand the difference are the conditions for a sensible future, the Art like tool of speech, the Human behind the Art.
Participating Artists Include: Nú Barreto I Beya Gille Gacha I Nelson Makamo I Gastineau Massamba I Evans Mbugua I Hyacinthe Ouattara I Malick Sidibe I Ange Swana
DIPTYK 'What does African contemporary art think?'NEWS March 11, 2019
DIPTYK - NEWS
What does African contemporary art think?
By Marie Moignard POSTED 11 March 2019
Translated from French using Google Translate
The art of the continent and its diaspora is crossed by themes that sometimes turn to obsession. Overview through the 6 frenzies of the moment ...
Another vision of the feminine
"Woman is the future of man", wrote Aragon. It is also considered as the future of the African continent. No more clichés of the housewife or eroticized to excess. New York artist Mickalene Thomas (Galerie Nathalie Obadia) drew inspiration from her own mother's charisma, in a very up-to-date approach to empowerment, to celebrate a new vision of African-American women: powerful and liberated. Mickalene Thomas revisits the female portrait by confronting Ingres, Matisse or Manet to better question the representation of the black woman through the ages. Ivorian Joana Choumali (Loft Art Gallery) revisits the embroidery to make it a medium of expression of thought. Ethereal, his latest series Alba'hian is a roadmap of his morning walks through Abidjan. Transposing a feminine craft practice to a form of meditation, Choumali superimposes photographs, threads and fabrics to better represent the multiple layers of her reflection and inner journey.
Bubblegum Club features 'What is South Africa, even? Vol 2'PRESS February 27, 2019
BUBBLEGUM CLUB - ART & CULTURE
'What is South Africa, even? Vol 2.' // exploring history and nationhood
By Christa Dee
"One of the things I am trying to do with this project is reflect on what it means to be part of this nation, especially one that has so much growing up to do. Considering that ideas of the nation in the past have relied heavily on exclusion, and South Africa's difficulty in coming to terms with the end of colonialism and apartheid, the aim is to try and bring new light to the circumstances that influence our sense of belonging here. I also want to write our history - we know that there are many gaps and that the experiences of everyday people are not always present in historical narratives, the exhibition serves as a way to think through 'historical loss' and also serves as a way to include. The project is really about inclusion."
Hi-Fructose Magazine Feature Slimen El KamelPRESS February 23, 2019
The Multilayered Paintings of Slimen El Kamel
By Andy Smith
Slimen El Kamel’s transcendent paintings are informed by both memory and folklore. The Tunisia artist uses acrylics, embroidery, and other media to craft these multilayered works, each inviting the viewer to unpack his crowded visions. His painting have been said to question “social constraints and the absurdity of violence.”
“His more recent work considers the links between the human body and everyday consumable objects,” Sulger-Buel Gallery says. “El Kamel considers the ways in which virtual and lived reality hinge upon visual and auditory channels of communication. Through figurative, symbolic and abstract forms he creates at once a narrative unfolding on the canvas and a subtle critique of the effects of mass culture on traditional ways of life.”
DIPTYK '1-54 Marrakech: What to collect'PRESS February 22, 2019
DIPTYK - NEWS
1-54 Marrakech: What to collect
By Marie Moignard and Emmanuelle Outtier POSTED 22 February 2019
Translated from French using Google Translate
1-54 Marrakech is an opportunity to (re) discover the diversity of contemporary African creation. Diptyk offers you our selection.
Mythology of strangeness
Singular anthropomorphic creatures haunt the work of Soly Cissé. Trained at the Beaux-Arts in Dakar, the artist quickly freed himself from all academicism and developed a plastic language in which color and material effects reign supreme. His expressionist gesture brings out of the canvas hybrid beings straight out of an unusual and personal mythology. Cissé exhibits regularly abroad. In 2005, he participated in the exhibition "Africa Remix" curated by Simon Njami. Recently, his installation Cotton field presented off the Biennial Dakar 2018 was welcomed by critics.
Economic growth spurs Africa’s art market—but slowlyNEWS February 21, 2019
THE ART NEWSPAPER - NEWS - ARTMARKET
Economic growth spurs Africa’s art market—but slowly
By Anna Brady
Fledgling local client base and rising international interest fuel Cape Town and Marrakech shows.
As a continent, Africa is arguably the last frontier art market and, as China’s economy continues to slow, it is attracting increasing attention—in October, the International Monetary Fund calculated that six of the ten fastest-growing global economies are in Africa. The rise of Modern and contemporary African artists on the market in Europe and the US, and the spike in museum shows dedicated to them, was a phenomenon in 2018. Yet the continent itself, with its reputation as a relatively high-risk business environment with a still nascent domestic collector base, remains unexplored by many international galleries.
Zimbabwe Taps Four for 2019 Venice Biennale PavilionNEWS February 19, 2019
ARTNEWS - 2019 VENICE BIENNALE - NEWS
Zimbabwe Taps Four for 2019 Venice Biennale Pavilion
By Andrew Russeth
The opening of the Venice Biennale is less than three months away, and the excitement about which artists will be participating in the central exhibition is building to a fever pitch in the ARTnews office. Now, Zimbabwe has been kind enough to provide some news to alleviate that tension, revealing the artists who will represent the country at the event. They are Kudzanai-Violet Hwami, Neville Starling, Georgina Maxim, and Cosmas Shiridzinomwa.
The four will be featured in a show titled "Soko Risina Musoro," which takes its name from a poem by Zimbabwean writer Herbert Chitepo. Raphael Chikukwa, chief curator at the National Gallery of Zimbabwe, is handling curatorial duties for the pavilion, the fifth in the nation's history. Doreen Sibanda, executive director of the National Gallery, is serving as its commissioner.
Mutual Art publishes: 'Women to Collect Now: 1-54 Contemporary African Art Fair Marrakech'PRESS February 18, 2019
MUTUALART - ARTICLE
Women to Collect Now: 1-54 Contemporary African Art Fair Marrakech
By Kemi Olateju POSTED 18 February 2019
This week, 1-54 Contemporary African Art Fair opens its 2019 Marrakech edition. Using data from our new MA Intelligence tool, analyst and MutualArt member Kemi Olateju gives insight into the women to watch at this year's event.
1:54 is an annual art show of African art founded by Touria El Glaoui in 2013. Deriving its name from the 54 countries that constitute the African continent, the art fair is dedicated to contemporary art from Africa and its diaspora with annual editions in London, New York, and Marrakech.
The 2019 calendar kicks off in Marrakech with VIP views beginning on February 21st. Works from 18 international galleries and over 60 established and emerging artists will be presented.
40% of the countries in Africa are represented at this year’s fair. The majority of artists hail from Morocco, Nigeria, and South Africa. This makes for a diverse range of style, media, and subject, though there is perhaps a slight under-representation of East African nations.
The number is still low, but women artists are becoming increasingly represented in contemporary African Art. Almost 25% of the artists on show at this year's Marrakech fair are female-identifying. While this is still far from parity, it does offer a strong balance between established and emerging female artists from diverse backgrounds, working in various media. Here are some prominent examples.
SABC News interview provides insight into 'What is South Africa even? Vol 2'PRESS February 15, 2019YOUTUBE - SABC DIGITAL NEWS
What is South Africa even? Vol 2, explores the notion of a country coming to terms with itself as a diverse and complex society. The exhibition aims to reflect on the outdated philosophies of the nation. It features work by Jasmin Valcarcel, Thina Dube, Ronald Muchatuta, Vivien Kohler, Neo Gilder, Andrew Ntshabele and Simphiwe Buthelezi. The exhibition asks what South Africa signifies, for those living in the country in terms of our shared experiences as human beings.
Plataforma de Arte Contemporáneo features Mohamed Saïd ChairPRESS February 12, 2019
PLATAFORMA DE ARTE CONTEMPORÁNEO
Mohamed Saïd Chair at The Nomad Creative Projects
By Séverine Grosjean
Mohamed Saïd Chair is a young Moroccan painter whose work is characterized by the characters "put in a box". In fact, it was during a walk in 2015 that he was first attracted to the cardboard boxes children wear on their faces. The echo of this famous expression "put someone in a box" evokes a state of immobility rather than that of movement. A person is put in a box, frozen and cannot move. Actually, this is used as a metaphor to talk about someone who can not replicate or cope. It is also a reference of the need to classify a certain "normality", a homogeneous reality.
Mohamed Saïd Chair covers the heads of his characters with a cardboard box and manages to capture ordinary scenes of life that reflect human decadence. On the cardboard that replaces the canvas, "a perverse social order produces individuals of the same level, instead of real people with disparate characters". These characters are icons of consumption and "massive conditioning".
Georgina Maxim confirmed for Zimbabwe Pavilion at this year's Venice BiennaleNEWS February 7, 2019
THE ART NEWSPAPER - NEWS - AFRICA
Zimbabwe makes Venice Biennale selections amid political turmoil
By Tim Cornwell
Against a backdrop of rising economic and political turmoil, Zimbabwe has selected a group of artists to represent the country at this year’s Venice Biennale. Cosmos Shiridzinomwa and Georgina Maxim are the first to be confirmed.
In January, a dramatic increase in petrol prices announced by Zimbabwe’s new president Emmerson Mnangagwa saw widespread anti-government protests. A violent crackdown by authorities followed, with social media and internet servers shut down. The upheaval has already delayed plans for a new biennial in the country’s second city of Bulawayo.
Featured by Obatala as one of "9 contemporary African art exhibitions not to miss in London"Press January 29, 2019
An Arty start to 2019: 9 Contemporary African Art exhibitions not to miss in London
The consistent, upward trajectory of the African Art market shows no signs of abating. If anything, 2019 is promising to be yet again another record-breaking year after an extraordinary 2018.
Despite the dynamism of African cities such as Lagos and Cape Town, London where the leading Contemporary African Art fair 1:54 was launched in 2013, remains for now, one of the most important cities within that segment of the art market.
This year is off to a flying start with a lineup of exciting African Art exhibitions. They are showcasing the vibrant African art scene along with the wide variety of styles and preoccupations of artists hailing from the continent and its diaspora.
Take your diaries out; here are 9 contemporary African art shows not to miss.
Pélagie Gbaguidi featured in 'Decolonizing the Body' exhibitionNEWS January 24, 2019
Decolonizing the Body
Curated by Pascal Lièvre
26 January - 3 March 2019
To close the trilogy devoted to artists who develop forms of resistance to oppression of gender and sexuality in the postcolonial context, Eternal Network invites feminist artist Pascal Lièvre to play the role of curator.
Decolonizing the Body proposes to explore the strategies of artists who deconstruct the oppressive norms of gender, gender and racism in their works. Militants, they create new formal, conceptual and political alliances with the bodies that perceive them. Activists, the works transform the exhibition space into a political space. By proposing other representations of the bodies, the artists present in the exhibition join a movement that goes from feminist theories to queer thought through postcolonial theories to move towards an intersectional analysis of the systems of power that are exercised on our bodies.
Participating Artists: Giulia Andreani I Malala Andrialavidrazana I Raphael Barontini I Laura Bottereau & Marine Fiquet I Halida Boughriet I Edi Dubien I Esther Ferrer I Kay Garnellen I Pélagie Gbaguidi I Kubra Kadhemi I Katia Kameli I Mehdi-Georges Lahlou I Roberta Marrero I Myriam Mechita I Myriam Mihindou I Pauline N'Gouala I Leonor Palmeira & Camille Pier I Françoise Pétrovitch I Chantal Raguet I Athi-Patra Ruga I Abel Techer I Nicole Tran Ba Vang I Floryan Varennes
Curated by Mohamed Lekleti, 'Khamsa' opens at the Center of Contemporary Art, PerignanNEWS January 21, 2019
Curated by Mohamed Lekleti
100 meters from the center of the world / Center of Contemporary Art
From January 19th to March 17th 2019
Plato, then Aristotle thought that the world was governed by five elements: air, water, earth, fire, and the quintessence that gave the breath of life khamsa means in Arabic the number five. Here he is referring to the number of artists exhibited.
Moreover, the choice of this title is not fortuitous because the exhibition brings together artists mainly from Africa and the Maghreb. In North Africa, Khamsa, is a symbol used as an amulet and talisman by the locals to protect themselves from the evil eye, it also means the five pillars of Islam.
Modern Ghana features 'Disarticulations'PRESS January 11, 2019
Wilfred Clarke shares his enthusiasm for 'Disarticulations', a two-person exhibition featuring Mohamed Said Chair & Jean David Nkot which opens on Tuesday 15 January 2019 at Sulger-Buel Gallery.
PETRIe In Conversation with Othello De'Souza-HartleyINTERVIEW
Elena Stanciu from PETRIe sat down with Othello De'Souzqa-Hartley to discuss his vision and goal as an artist, his points of inspiration, and his most recent project, Noise, a short film in which the tragedy of history and the sadness of the present are faced with an open question about the future.
To read more please click HERE
'What is South Africa, even? Volume 2' Exhibition at The Bag FactoryNEWS
What is South Africa, even? Volume 2
Curated by Carlyn Strydom / Museum Her
The Bag Factory Artists' Studios
28 February - 20 March 2019
Participating artists include: Vivien Kohler I Jasmin Valcarcel I Neo Gilder I Simphiwe Buthelezi I Thina Dube I Ronald Muchatuta I Andrew Ntshabele
10 Mahlathini Street, Fordsburg/Newtown Johannesburg, South Africa 2001
The exhibition forms part of the Bag Factory Curatorial Development Programme.
For contact information please navigate to the Bag Factory website HERE
Péju Alatise donates to Zeitz MOCAA Benefit Art Auction 2018NEWS December 1, 2018
Exciting works from leading contemporary artists from Africa go under the hammer at the Zeitz MOCAA Benefit Art Auction. The auction will take place on Saturday, 1 December 2018 at the museum, and will be conducted by Strauss & Co.
Generously supported by artists including:
Igshaan Adams I Peju Alatise I Wayne Barker I Deborah Bell I Patrick Bongoy I Jeanne Gaigher | Naomi Wanjiku Gakunga I Kate Gottgens I Nicholas Hlobo I Cyrus Kabiru I Peterson Kamwathi | William Kentridge I Wallen Mapondera I Gonçalo Mabunda I Mongezi Ncaphayi I Blessing Ngobeni | Nnenna Okore I Thania Petersen I Cameron Platter I Yinka Shonibare I Hank Willis Thomas | Barthélémy Toguo I Frohawk Two Feathers
Pélagie Gbaguidi Fellowship at Civitella RanieriNEWS December 4, 2018
Pélagie Gbaguidi has recently been invited to attend a fellowship at the prestigious Civitella Ranieri Foundation in Umbertide, Province of Perugia, Italy. (duration). Founded in 1995, the Civitella Ranieri Foundation is an artist residency program that has hosted over 800 Fellows and Director's Guests at its 15th century castle in Umbria.
Artists require unfettered time and space to engage in their work and the world. Building on the legacy of our founder, Ursula Corning, the Civitella Ranieri Foundation opens the doors of its 15th century castle in rural Umbria annually for four six-week residency sessions of self-directed studio and work time.