The 14th edition of the Dakar Biennale puts up the first significant survey of Senegalese artist El Hadji Sy’s work in the city.
Three prominent curators on how they are (re-)situating their respective curatorial practices in relation to the political moment.
Homage to Santu Mofokeng, photographer of quotidian black life in South Africa.
Binyavanga’s fashion sensibility as well as his choices in his memoir, and his essays, will have a lasting impact after he is gone.
Bisi Silva’s constant movement was a form of unlearning; in her awareness of artists and cultural production on the African continent.
The ultimate goal of Michele Siblioni’s work is to achieve the satisfaction of the white male ego, via the camera lens and exotic depictions of black women.
Okwui Enwezor’s “All the World’s Futures” is a radical attempt at shifting the paradigms of biennale models to create a more democratic society of artists and exhibition spaces.
As an art writer working in Africa, I have no available model to craft an entire practice of writing books on contemporary art in Uganda.
The need to move the art discussion away from Darwinian interests in gorillas to the concern for new audiences for contemporary art in Africa.
Dak’Art is the only art contemporary biennale of its scope with a mandate to include all artists of African descent.