ART AFRICA had the opportunity to chat with Leanne Olivier about her upcoming solo show, EXTRINSIC/INTRINSIC at Jan Royce Gallery. Olivier discusses the role of the artist in contemporary society, "life drama", and the Theatre of the Absurd.
On the top floor of an incomplete one-storey building, portraits of Ghanaians – mostly females sitting among yellow jerry cans – hang on the unpainted walls. Others hang on abandoned scaffolds left in the building. These paintings are new artworks by contemporary Ghanaian artist Jeremiah Quarshie, some of which appear a bit exaggerated; but the near realness of Quarshie’s application is a testimony to the ‘hyper-real.’
Kenya’s up-and-coming artists are increasingly finding spaces outside of the conventional galleries to exhibit their art. Crossing borders & breaking moulds: Margaretta wa Gacheru writes about Kenya’s burgeoning art scene.
The rise of African contemporary art in the international gaze has been more than well documented. But the enthusiasm, has overshadowed an analysis of how this interest has affected the ecology of the African art sector as a whole. While international interest is powering ahead it does so in the context of art infrastructure and gallery sector on the continent largely under supported and under-developed and local markets only beginning to emerge. As a consequence, the international market interest to date has been largely benefitting individual artists represented by international galleries, with trickle down economics working the same way as they do elsewhere to support the growth and economic sustainability of the local art sectors. We see this at forums such as 1:54 African contemporary art fair, where even in its present 4th edition only 16 out of 40 participating galleries are based on the continent.
The task of exploring a thousand years of a country’s history in one exhibition – particularly one with as contested a history as South Africa – is not an easy one. Yet the British Museum has managed to create an exhibition that is informative and well curated, offering new and surprising insights even for a South African audience. ‘South Africa: the art of a nation’ is a thoughtful journey through the artistic history of the country, from as far back as three million BP through to 2013. While you might think an exhibition of this scope would take the form of a purely chronological curatorial structure, Chris Spring and John Giblin’s sensitive juxtaposition of contemporary work with ancient art objects creates a lively conversation between past and present work.
"At any given moment in time, as I work on a piece, events are unfolding around me, and are a part of my life, the studio and my practice – the Arab/African Spring is one example. I had the news on constantly as I was painting. This all finds its way into my work; to embrace the various histories, contradictions, and complexities; to mash them up, bind them and maybe find the breaks."
In the lead up to the exhibition 'Africans in America' at the Goodman Gallery, Johannesburg, ART AFRICA caught up with participating Chilean artist Alfredo Jaar. In this interview, Jaar talks about his architectural background, his introduction to Media, and the tragic consequences of global indifference.
With the presence of both local and internationally invited experts, the Addis Foto Fest Conference is a platform to discuss the development of photography in Africa and beyond its borders. Participating panelist Francis Falceto is the author of Abyssinie Swing: A Pictoral History of Modern Ethiopian Music and winner of the BBC World Music Award (2008). His collection of photography from Ethiopia's jazz scene dates back to the 50s, providing a fresh perspective on the often reductionary nature of representation.
Quaid Heneke and Angelo Valerio are not simply close friends, but describe themselves as sisters. Years before they were born, both of their mothers lived in Kensington, a Northern suburb in Cape Town that was classified as ‘Coloured’ during the Apartheid Group Areas Act. While Valerio grew up in Cape Town, and Heneke in East London, they met online before connecting in person. Remembering seeing Heneke for the first time, Valerio recalled thinking, “Who is this beautiful person? I was still in high school, and I had never seen anyone like Quaid in my life.”
Harare Conversations is an ongoing discursive platform that is part of the National Gallery of Zimbabwe’s educational programme. Held on October 14th, 2016, ‘Harare Conversations: Videonomad Harare Iteration Talks’ formed part of a larger initiative orchestrated by the National Gallery, Njelele Art Station (Harare) and Videonomad (Berlin), an independent project that aims to provide an alternate platform for African artists, both within the continent and abroad. Founded by Tobi Ayedadjou in 2013, Videonomad have worked as far and wide as Kalamata, Pesaro, Bahia, Tunis, Tokyo, and Dakar.
Moderated by Lucia Nhamo, this panel discussion included artists Berry Bickle, Bogosi Sekhukhuni, Simon Gush, Tabita Rezaire, and Mario Macilau. This discussion touches on a wide range of themes, by looking closely at the processes of production, their intended outcomes, and the many concerns born from their respective contexts as individuals working with a similar but varied set of tools, each to their own end.
"One hundred and twenty-six photographers from all over the world poured their hearts and souls into the creation of stories, documentations, and expressions that depict meaningful fragments of the places, memories, and spaces with which they identify," writes Ainslee Alem Robson on the upcoming Addis Foto Fest, set to take place between the 15th - 20th December, 2016.
ART AFRICA had the opportunity to sit down with performance artist Athi-Patra Ruga just before his performance at the 2016 Performa Gala in New York. In this interview Ruga talks about his avatars, the performing body, and his artistic practice.