Europe's cultural sector is still reeling from a report presented to the French president Emmanuel Macron last Friday. The report entitled The Restitution of African Cultural Heritage. Toward a New Relational Ethics was commissioned by Macron as part of his efforts to jumpstart political discussions around the repatriation of cultural heritage.
"Because I live here" places post-migrant German society under the microscope to reveal structural violence
As the art fair opens its doors, Eric Otieno interrogates one newspaper's sweeping statement about the apparent diversity of the German art scene.
You know it's Biennale season because there's an uneasy air of low-key artsy sophistication everywhere. As expected, Berlin desperately wants to remain the coolest Art Metropolis in the history of everything.
Jean-Michel Basquiat's legend precedes him. It always has since he first emerged as one of the incognito masterminds behind the duo called SAMO that made witty graffiti statements on the streets of New York City. After single-handedly "killing" SAMO by spraying "SAMO is dead", inducing a split with his partner Al Diaz, Basquiat as we know him emerges a solo Artist.
Grada Kilomba's first solo exhibition on the African Continent at Goodman Gallery, Johannersburg, is firmly embedded within a postcolonial iteration of the following questions: Who can speak? What can we speak about? And what happens when we speak?
As 1-54 Contemporary African Art Fair opens today in London's Somerset House, Eric Otieno explores how the fair provides a new perspective on art from Africa and its diaspora
Keyezua: Through art and its process, I found a way to confront my fear of accepting my father's passing in remembering his last days as a man with a disability. I created these images to talk about his death and to finally let him go in a masked ritual.
Work in German
Mit ihren nun auf Deutsch erschienenen Büchern "Die Provenienz der Kultur" (2018) und "Afrotopia" (2019) zeigen Bénédicte Savoy und Felwine Sarr, dass ihr Bericht zur Restitution von Kulturgütern erst der Startschuss einer dringenden Auseinandersetzung ist
Die Frankfurter Schirn hat mit ihrer Ausstellung "König der Tiere: Wilhelm Kuhnert und das Bild von Afrika" eine Debatte entfacht: Wo bleibt die kritische Einbettung dieses Malers im Gefüge des deutschen Kolonialismus? Die Kritik ist berechtigt, schreibt Eric Otieno in seinem Gastkommentar für Monopol