Filed under magazine | Tags: · africa, art, art criticism, art history, colonialism, contemporary art, decolonization, diaspora, migration, postcolonialism
“Contemporary And (C&) is an online art magazine and a dynamic space for the reflection on and linking together of ideas, discourse and information on contemporary art practice from diverse African perspectives.”
Edited by Julia Grosse, Yvette Mutumba, Will Furtado, a.o.
Publisher Contemporary And (C&) & Institut für Auslandsbeziehungen (ifa), Stuttgart
HTML (online platform)
PDFs (print issues):
Issue 1: Dak’Art 14 (Dakar Biennale Special) (Apr 2014)
Issue 2: Kampala Focus (Sep 2014)
Issue 3: Focus Migration (Jun 2015)
Issue 4: Focus Bamako (10th Bamako Encounters – African Biennale of Photography Special) (English/French, Sep 2015)
Issue 5: The Interview Issue (Feb 2016)
Issue 6: Afro-Brazilian Perspectives (32nd Bienal de São Paulo Special) (Sep 2016)
Issue 7: Curriculum of Connections (documenta 14 Special) (Jun 2017)
Special Edition: #Nairobi (Sep 2017)
Issue 8: Conditions (Art Scene Cameroon Special) (Dec 2017)
Issue 9: You Are Already in it: Looking at a Global Diaspora (10th Berlin Biennale Special) (Jun 2018)
Filed under catalogue | Tags: · aesthetics, art, decoloniality, decolonization, diaspora, europe
“Be.Bop: Black Europe Body Politics, a project of Art Labour Archives, is a decolonial transdisciplinary and indisciplinary curatorial initiative based in Berlin with an international impact through presentations in major cities across three continents.”
“Active in the international cultural arena since 1997, Art Labour Archives has been passionately involved in the production and theorization of performance and the moving image from a Black Diaspora perspective.
In the vision of its founder, Alanna Lockward, disciplines are meant to facilitate each other’s dismantling by means of constantly challenging its own claims to legitimacy. This paradigm inversion places collective knowledge creation as a central ambition. In this sense, the optic and praxis of Art Labour Archives is to surpass the expectations of the society of the spectacle and its insatiable appetite for visual and sensorial stimulation. Instead, the dozens of publications, exhibitions, screening programs, workshops and seminars conceptualized and produced by Art Labour Archives in the last seventeen years, have offered liberation, healing and redemption as a viable alternative.
In short: our journey is one of experiencing “art” as a labour of love and mutual examination and recognition beyond geographical, discursive and disciplinary thresholds. Between 2010—2018 Be.Bop has been presented in conferences, seminars and different public events in three different continents thanks to the support and faith of our partners, participants and friends.”
Be.Bop “is an enterprise led by curator Alanna Lockward; a collective of artists, curators, artivists and activists, social theorists and humanists. A decolonial project of healing, learning and love. Network with the Middelburg Decolonial Summer School and with Decolonial Aesthesis in Bogota and Durham (Duke University)” (Walter Mignolo, project advisor).
Curated by Alanna Lockward
Publisher Art Labour Archives, Berlin, 2012-2018
The Skin Thing, 2012, event website
Decolonizing the “Cold” War, 2013, event website
Spiritual Revolutions & The “Scramble for Africa”, 2014, event website
Call & Response, 2016, event website (2)
Coalitions Facing White Innocence, 2018, event website
Filed under catalogue | Tags: · africa, art, art history, asia, caribbean, colonialism, contemporary art, diaspora, eastern europe, ethnocentrism, globalisation, latin america, middle east, multiculturalism, postcolonialism, south america
Catalogue of an exhibition held 18 May-14 August 1989 at the Centre Pompidou and La Grande Halle-La Villette, curated by Jean-Hubert Martin with the assistance of Jan Debbaut, Mark Francis, Jean-Louis Maubant, Aline Luque, André Magnin and Jacques Soulillou.
“An exhibition loved and hated in equal measure, Martin curated the show to address the fact that there were, as he put it, “one hundred percent of exhibitions ignoring 80 percent of the earth.” He attempted to engage critically with certain aspects of neo-colonial mentality in the West, particularly a resurgent interest in ‘primitivism,’ which Martin felt aestheticized exotic cultures without destablilizing western definitions of fine art, modernism, or identity. The exhibition included works by 100 artists (50 from the so called ‘West’ and 50 from the ‘margins’), attempting to show all on equal footing. The success of this attempt is still disputed and discussed in terms of the exhibition history of the past twenty-odd years, but it remains undeniable that the exhibition enacted an important break with some of the conventions of exhibition-making and strictly defined notions of modernism. Exhibited artists included Marina Abramovic, John Baldessari, Mike Chukwukelu, Braco Dimitrijevic, Yongping Huang, Boujemaa Lakhdar, Richard Long, Sigmar Polke, Jangarh Singh Shyam, Ulay, Jeff Wall, Jimmy Wululu, etc. ” (Source)
With essays by Jean-Hubert Martin, Aline Luque, Mark Francis, André Magnin, Pierre Gaudibert, Thomas McEvilley, Homi Bhabha, Jacques Soulillou, Bernard Marcadé.
Publisher Editions du Centre Pompidou, Paris, 1989
ISBN 2858504989, 9782858504985
Interview with curator (Benjamin H.D. Buchloh, Art in America, 1989, EN)
Reviews: 10 French press reviews (1989), more, list of reviews (1989, 30 pp).
Analysis and commentary: Special issue of Les Cahiers du Musée National d’Art Moderne (1989, FR, 101 MB, added on 2019-8-14), Special issue of Third Text (1989, EN), Thomas McEvilley (1990, EN), Cesare Poppi (engage, 2003, EN), Hal Foster et al (2004/07, EN), Daniel Soutif (2005, FR), Reesa Greenberg (Art Journal, 2005, EN), Maureen Murphy (Critique d’art, 2013, FR/EN), Pablo Lafuente (2013, EN), Annie Cohen-Solal (Stedelijk Studies, 2014, EN), Adam Jasper (AU&NZ Journal of Art, 2014, EN), Julia Friedel (C&, 2016, EN).
Short documentary (1989)
Pompidou’s 25th anniversary exhibition (2014)
Film retrospective at Tate (2014)
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