Afterlives of History
The Portuguese artist of Angolan descent doesn’t statically document his native Linha de Sintra, but embraces the permanence and transience of home.
Art in Crisis
As war threatens Sudan’s cultural heritage, Sudan Art Archive works to digitally preserve 50 years of art through diaspora-led stewardship.
Artist Portrait
A recent Samson Mnisi exhibition was a testament to how the artist could invite viewers into a spiritual place he occupied.
C& x Académie des Traces
En collaboration avec l'Académie des Traces, sept jeunes chercheurs et professionnels des musées explorent les traces de l'héritage colonial.
C& Center of Unfinished Business
Du philosophe du XVIIIe siècle Anton Wilhelm Amo à la perspective du XXIe siècle de Johny Pitts en passant par May Ayim.
Culture matérielle
Dans une reconfiguration subversive d'images et d'objets, l'exposition "No One Has Ever Called Their Child Hunger" évoque un cosmos.
Communautés artistiques
Anna Adima médite sur l’accueil de la communauté et l’ingéniosité de la scène artistique de Kampala en pleine expansion.
"Afterlives of History"
The multifacted work of Unidigrazz invites us to revisit domestic scenes as a way to critically reclaim public space.
Year-in-Review
It has been another year of expanding networks, fostering dynamic collaborations, and producing exceptional art writing.
Having started as a vlogger, the artist uses her biography to create shared reference points beyond self-referentiality.
Impundu Arts Centre
Andrew I Kazibwe met with Jemima Kakizi, artist, curator, and organizer of arts mentoring programs, to speak about the potential for female artists.
Portrait d’artiste
L'artiste crée un dialogue entre son héritage et sa culture française natale, fusionnant traditions, culture pop et enseignements philosophiques.
![(clockwise) Manyaku Mashilo, Passage to Prayer (detail), 2023. Credit: Hayden Phipps & Southern Guild Archives. Courtesy of the artist; Tatenda Chidora, Self isolation II, 2021. Ilford Gold fibre Pearl 290gsm, 102cm x 132cm. Courtesy of the artist; Anaïs Cheleux, Mas Maten, Guadeloupe, shot on digital camera, 2016. Courtesy of the artist; Glicéria Tupinambá, Manto tupinambá [Tupinambá Mantle], 2023. Courtesy of the artist. Foto: Glicéria Tupinambá; Elizabeth Catlett, African American, 2009, MUSEUM MMK FÜR MODERNE KUNST, © Elizabeth Catlett Family Trust / VG Bild-Kunst, Bonn 2023, photo: Axel Schneider.](https://contemporaryand.com/wp-content/uploads/2024/12/Bildschirmfoto-2024-12-19-um-21.08.13.png)
