L’histoire du « fantôme colonial »
C’est une joyeuse agressivité ambiancée par l’œuvre sculpturale de Pascale Marthine Tayou qui…
Review: Bird Song
« Artiste de l’année » 2017 de la Deutsche Bank, Wa Lehulere présente actuellement sa…
Venice Biennale 2017
Since its opening in 1930, it's time to take stock of the US…
Documenta 14: Athens
Jota Mombaça recently moved to Athens for observing the multiple events surrounding Documenta…
Does the label “African” at events like the Venice Biennale finally expire? The…
In this essay, artist and writer Neo Musangi takes a look back at…
Documenta 14 Athens
Under the ambitious title "Learning from Athens", this year's Documenta tries to face…
Review: Sonia Boyce at the Institute of Contemporary Arts, London
In Sonia Boyce's latest presentation, the realms of power and space are closely…
Afriques Capitales: Écrire la ville
Dans le cadre de la deuxième édition du festival pluridisciplinaire 100 % consacré cette…
A review of Sharjah Biennial 2017
Our author Christine Eyene takes a closer look at the 13th Sharjah Biennial,…
Review: German Colonialism - Fragments Past and Present
This special exhibition on German colonialism opened in October 2016 at the Deutsches…
The Whitney Biennial 2017
Our author Will Furtado takes a closer look at this year's Whitney Biennal…
![Chemi Rosado-Seijo, documentation of Salón-Sala-Salón (Labra) (Classroom/Gallery/Classroom [Labra]), Escuela Rafael María de Labra, San Juan, PR, August–December 2014. Courtesy the artist](https://contemporaryand.com/wp-content/uploads/2017/03/28_RosadoSeijo.C_01.sm_-2048x1558.jpg)