One day we will find a language for this
New Warscapes volume explores travels and lives of migrants and refugees beyond mainstream portrayals.
New Warscapes volume explores travels and lives of migrants and refugees beyond mainstream portrayals.
Art players and enthusiasts from around the world and down the street will coalesce at the
What can we do for 'the worst place in the world'? Surely this play in London, is not the thing.
Why are we so averse to acknowledging complexity, difference, subtlety and agency when it comes to art that emerges from and in Africa?
It’s hard not to imagine what could have been, or indeed could be in postcolonial Ghana if the political will and right management was in place.
Beauty, stillness, and connection in Lagos, Nigeria.
The vigorous disruption by social movements and artists of the thuggish racialized mythmaking that dominates Stellenbosch’s cultural memory.
To equate the rage of South African student protestors with the official brutality of the state is the bedrock of conservatism.
Atiku's street performances - biting critiques of Nigeria's ruling class - encourages participation. Which is often too much for the local ruling class.
Ghana has a housing crisis and Accra is increasingly marginalizing those who are far from able to get a piece of the real estate pie.
Twenty-one years ago, “Angolan Sculpture, memorial of cultures,” curated by Marie Louise Bastin in the Lisbon
'Beauté Congo' wonderfully represents Congolese contemporary art, yet fails to completely evade European colonial baggage.
Muholi on inspirations: "Audre Lorde will always be my favorite because she informed a lot of us, gave us a new way of thinking."
The relevance of Mauritius in the flows and exchanges between global superpowers, especially Britain and the United States.
In 1970, a young man of color who was a member of a radical group was
The CHALE WOTE Street Art Festival in Accra has grown over the last four years, expanding
A new book highlights African innovation, challenging dominant perceptions of the continent.
An interview - captured on film - with Cape Town-born artist Kemang Wa Lehulere about his work.
In the 1970s, a Congolese painter named Tshibumba Kanda Matulu began to paint a history of
Two exhibits at the same museum: one seeking to deconstruct the white Western gaze, the other perpetuating it.