C& Audio Archive

The C& Audio Archive is a podcast featuring a selection of exciting and discursive content published on Contemporary And. Listen to artist interviews, reviews, features, and opinions about crucial topics on contemporary art, to stay up to date with discussions surrounding art from Africa and the Global Diaspora.

The C& Audio Archive is produced by poet and curator Emmaus Kimani in Nairobi, read by two of the city’s finest narrators: Mimmo Wanjuhi and Ondieki Daniel. Mimmo is an award winning Kenyan singer/songwriter, voice over artist, e-commerce marketplace specialist and freelance Journalist. Ondieki is a sound engineer, voice actor, composer and founder of Ondieki Studios.

Alma Thomas, Air View of Spring Nursery (Detail), 1966. Acrylic on canvas. The Columbus Museum
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Inventer son propre terrain

Alma W. Thomas et les trésors du monde naturel

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Decentering the I: How to Redefine the Human
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C& Center of Unfinished Business

Decentering the I: How to Redefine the Human

Our Deputy Editor Will Furtado argues that indigenous knowledge has always held the…

Sam Gilliam, 
TBC, 2020, 
watercolor on washi, 

39-1/2
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INVENTING YOUR OWN GAME

Sam Gilliam : entre structure et improvisation

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Wood Picture, c. 1967. Courtesy of Galerie Lelong & Co.
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Inventer son propre terrain

La pensée abstraite de Mildred Thompson

Au cours de la période dite « d'après-guerre », de nombreux artistes noir·es…

Image above: Marsha P.Johnson (left) and Sylvia Rivera (right) at Gay Pride Parade, 1973. Photo: Leonard Fink. From the film
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White Label

Comment Warhol a effacé l’identité de ses modèles transgenres Noir·es.

L'historien de l'art Gürsoy Doğtaş analyse les déséquilibres de pouvoir entre Warhol et ses modèles BIPoC queer et trans du Lower Manhattan.

​Shannon Tamara Lewis, Too Fast Ones: We Stole These Heads I, 2019.
Oil on Linen, 2m x 2m. Photo: Guillaume Baeriswyl, Konkord Photography. Courtesy of Les Urbaines Festival
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Digital Strokes

The Fantasy of Aspiration in the Paintings of Shannon Tamara Lewis

Olamiju Fajemisin speaks to Shannon Tamara Lewis about her painted assemblages of limbs…

Odete Semedo in the film Quantum Creole, Filipa César, 2020. Courtesy the artist
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C& Print Issue #11: CONSCIOUS CODES, ANYONE?

La technologie numérique existe depuis longtemps

L'histoire de la technologie est indissociable de celle des personnes afri-caines. De l'automate…

 Sambiência, Juliana dos Santos, 2018, (credits: Gabriel Oliveira) originally featured in
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Sensuous Knowledge: A Black Feminist Approach for Everyone

The Forgotten Social History of International Blackness

For people of Black African heritage, identifying with Blackness is the glue that…

Sola Olulode, Close To You, 2019.
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Digital Strokes

Depictions of Queer Black Love for the Digital Age

A new generation of young painters in Europe are using internet languages to…

Guy Wouete, 'Next Week', Multimedia-Installation, 2010. © Guy Wouete
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States of Mobility

“The passport that does not pass ports”

Mobility in the arts, geographical or otherwise, is often seen as almost a…

Photographer: Henry Chan - Location: Dinner between Rashid Johnson's Anxious Audiences at the Power Plant Gallery - 2019
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Black Curators Forum Toronto

Un·e curateur·rice Noir·e n’est jamais qu’un·e simple curateur·rice

Le premier Black Curators Forum a eu lieu à Toronto, au Canada, vers…

Peter Friedl, Untitled (Berlin), 1998/1999. Adhesive film on plexiglass / light box. Loan of the Federal Republic ofGermany – Contemporary Art Collection. Photo: Benjamin Renter
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C& Print Issue Another 89

What Collective Remembrance Is For

Anniversaries are a chance not only to remember but to reevaluate history, writes…

Betye Saar, I’ll Bend But I Will Not Break, 1998. Mixed media tableau: vintage ironing board, flat iron, metal chin, white bed sheet, six wooden clothespins, cotton, clothesline and one rope hook, 80 x 96 x 36 in (203.2 x 243.8 x 91.4 cm), Los Angeles County Museum of Art, Gift of Lynda and Stewart Resnick through the 2018 Collectors Committee, © Betye Saar
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Inventing Your Own Game

Betye Saar : Cette majesté qu’elle tient entre ses mains

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Maren Hassinger, Diaries, 1978. Performance at Vanguard Gallery, Los Angeles, CA. Black and white Photograph
Maren Hassinger, unknown. Photo Credit Adam Avila. Courtesy of Susan Inglett Gallery, NYC and Tiwani Contemporary, London
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Inventer son propre terrain

Maren Hassinger: « Nous ne vivons pas pour gagner de l’argent. »

Dans la période d’après-guerre, de nombreux artistes noirs pionniers qui avaient été largement…

Covers from books
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Art and Stereotypes

Playing with Race

We are still stumbling across curated incredibilities taking place in museums and art…

Howardena Pindell, Untitled, 1972. Acrylic on canvas, 174.3 x 267.3 cm; 68 5/8 x 105 1/4 inches
© Howardena Pindell. Courtesy the artist, Garth Greenan Gallery, New York and Victoria Miro, London/Venice
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Inventing Your Own Game

La cohérence dans l’art d’Howardena Pindell et son défi

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Installation View, Frank Bowling at Tate Britain (31 May - 26 August 2019), Tate Photography, Matt  Greenwood
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Inventing Your Own Game

Frank Bowling à la Tate : redéfinir les canons de l’art britannique

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

 Installation View: Robert Reed: San Romano Series, Pilar Corrias, London. 12 April – 18 May 2019. Courtesy of the Robert Reed Estate and Pilar Corrias, London. Photo: Damian Griffiths.
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Inventing Your Own Game

Robert Reed : de retour dans les canons de l’art américain

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

Jack Whitten, Quantum Wall, VIII (For Arshile Gorky, My First Love in Painting), Detail, 2017. Acrylic on canvas, 122,6 x 122,6 cm © Courtesy the Jack Whitten Estate and Hauser & Wirth. Photo: Genevieve Hanson
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Inventing Your Own Game

Jack Whitten : Un peintre de peintre reçoit une reconnaissance bien méritée

Après la guerre, de nombreux artistes de couleur se sont vus rejetés par…

François Knoetze: Core Dump, Dakar featuring Bamba Diangne, Film still: Anton Scholtz, 2018 © Courtesy François Knoetze , Film still: Anton Stoltz
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Les arts numériques d'Afrique

Donner corps à des formes de savoir et d’être

Notre auteur Enos Nyamor se penche sur les arts numériques en Afrique et…

Felicia Abban. Self Portrait IV.
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Female Pioneers

Felicia Abban: Behind the Scenes

In our latest series – Female Pioneers – we look at female artists…

Malala Andrialavidrazana, Figures 1838, Atlas Elémentaire, 2015. Courtesy the artist.
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Un nouveau départ

Comment la culture au Congo peut progresser en tirant les leçons du passé

Dans les années 1970, le Congo (par la suite le Zaïre) a connu un…

Mujeres Muralistas. Latinoamerica. 1974. Roy Anderson paints on concrete. 20’ x 76’. Mission St. bet. 25th & 26th St, San Francisco.
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Another 68!

The Black Female Artists Who Pioneered Alternative Art Spaces in Mexico

Despite the 1968 rise of protests against the regime in Mexico, narratives of…

Delegation Parade Frelimo. Photo: Luc-Daniel Dupire. Courtesy of PANAFEST archiv
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Un autre 1968!

Comment l’Algérie est-elle devenue la « Mecque des révolutionnaires » dans les années 1960

Les répercussions politiques et culturelles des émeutes mondiales de 1968 ont été abondamment…

(left) Depiction of Dogon God “Amma ”, shown like many ancient God’s with an elongated head. (right) Cover of Dr. Marimba Ani, Yurugu: An African- Centered Critique Of European Thought and Behavior, 1994.
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Racism: a bigger picture

“Germanomania” and the Myth of Nationalism

The unfading legacies of Western racism is a paradigm C& continuously examines through…

Whitney Museum of American Art New York. Photograph by Ed Lederman.
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"The spectacle of Black trauma"

Why Double Standards in Representation Need to End in the Arts

The censure with which a painting of Dana Schutz’s son was met in…

(left) Cover of Frantz Fanon, Black Skin, White Masks (right) Lyle Ashton Harris, Brotherhood, Crossroads and Etcetera #3 [in collaboration with Thomas Allen Harris], 1994. Courtesy the artist.
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C& Center of Unfinished Business

How Frantz Fanon Has Influenced Generations of Queer Artists

In this series, C& and ArtsEverywhere commission texts inspired by the books in…

Mahdi Ehsaei, Khaje-Ata, Bandar Abbas. 2015. Photo. © Mahdi Ehsaei. Courtesy of the artist.
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Photography

Looking Beyond Documentation of Afro-Iranians

In recent years, the Afro-Iranian community has been under the spotlight. In 2015…

Tschabalala Self, For the Gods (detail), 2015. Courtesy the artist.
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Tschabalala Self: Body Agency

Painting the Whole Picture of the Black Female Experience

Tschabalala Self belongs to a new generation of painters depicting a three-dimensional representation…

Kiosk Gallery Poster: 'Show Me Your Archive and I Will Tell You Who is in Power', 2017.
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Show Me Your Archive and I Will Tell You Who is in Power

Origines de l’intersectionnalité dans le féminisme

Dans les années 1980, une série d’événements pionniers a rassemblé les femmes d’Europe…

 

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The C& Center of Unfinished Business

Trouvez une sélection extraordinaire, parfois déconcertante de livres sur le colonialisme dans notre bibliothèque de plain-pied.

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