
Utopia Unstuck
Africa-focused sci-fi films redirects science fiction so that it becomes a fissure in which new subjects can be seen and heard. One question, however, is who makes these films.

Africa-focused sci-fi films redirects science fiction so that it becomes a fissure in which new subjects can be seen and heard. One question, however, is who makes these films.

Artists wanted to comment on the political struggles and religious undercurrents roughing up Tunisian society. Religious zealots, backed by the state, shut them down.

This thing about a boat on The Thames named for the one Joseph Conrad sailed up the River Congo before writing Heart of Darkness.

A film series in London explores what it would mean imbuing Africa with extra-terrestrial powers. We speak to the curators, Al Cameron and Nav Haq.

This online exhibition provides an overview of the transit of East Africans into Diaspora communities within the Indian Ocean world, and their various settlements among Arabic, Indian, Persian and Asian communities.



Science fiction as genre offers the opportunity to African artists to consider Western cartographies of the future as fictions in their own right.

A locally produced arts festival creates panic for Angola's authoritarian government, who has, predictably, responded with panic and repression.


Makode Linde calls his approach Afromantics: it use the blackface to show the connection between stereotypes, part of the same system of oppression.

Younger generations of artists, many immigrants of African origin, are reconfiguring the arts in France on their own terms.

Abderrahmane Sissako’s oblique suggestion of what a ‘socialist friendship’ might be in his first film, "October" (1993) set in a then-declining Soviet Union.

It’s a brilliant staging of structural racism and post-colonial existence by the artist Makode Linde.

Putting postcolonial Angola and postindustrial New York in visual touch.

When it comes to engaging with French language opinions and writings in English, it’s a desert out there.