... model” that Enwezor conceptualized for Documenta11 to a small but internationally acclaimed gallery in Copenhagen: the Center for Art on Migration Politics (CAMP). The article falls into three parts. The first part introduces CAMP and the Danish context for migration, before the authors discuss core...

... and drink waragi. In South Africa, I also met Mahmood Mamdani. The Johannesburg Biennale, as well as the later He introduced me to the late Jimmy Dean, a famous Documenta11, was an important support for me in Ugandan rally driver. I felt safe to go to Uganda trying to make sense of how to work visually...

...Monique Kerman When Okwui Enwezor gained world renown as artistic director of Documenta11 in 2002, his accomplishments as curator of contemporary African art were already well established. His In/Sight: African Photographers, 1940–Present , exhibition (1996) had the temerity to describe...

... measure. was considered as an exhibition curator and bien- Foreshadowing Decoloniality and Whiteness nial organizer and not as an academic the rep- Almost twenty years after Documenta11, the loss of etition of this statement among those we questioned Enwezor comes during a critical reckoning...

...Amelia Jones This article looks at Okui Enwezor’s theory of countering the art world’s “Westernisms” and his actualization of this theory in his organization of Documenta11 to mount an argument against the universalizing and Eurocentric conception of “global” art. It offers two examples of recent...

...; The Short Century: Independence Yinka Shonibare CBE is a British-Nigerian artist and Liberation Movements in Africa, 1945 1994, based in London. Museum of Modern Art, New York, 2002; and then, of course, Documenta11, Kassel, Germany, 2002, a project that completely transformed the trajectory of my career...

... who served as cocurator of Documenta11 with Okwui Enwezor, Carlos Basualdo, Ute Meta Bauer, Susanne Ghez, Sarat Maharaj, and Mark Nash. 140 Nka Journal of Contemporary African Art 48 May 2021 DOI 10.1215/10757163-8971426 © 2021 by Nka Publications ...

... From tempestuous malcontent to overwhelming critical praise, Documenta11 was met with a broad range of responses. Provincial American art critics were largely dismissive of the show, lambasting it as a didac• tic identity-based musing...

.... It was there on opening day that he invited Biennial under Okwui s leadership, I benefited from me to Documenta11 in 2002. When I finally ex- the generous appreciation of Dr. Kellie Jones and hibited in Documenta14 in 2017, his memory and from the company of artists who have staying power his inspiration were ever...

... curator, writer, and poet, Okwui Enwezor, whom both Mark Isaac Julien Nash and I were fortunate enough to work with on nearly all of Okwui s exhibitions and projects, from Documenta11 (2002) to the 56th Venice Biennale (2015). Instead of a thesis or concept, I wanted to bring together artists for whom...

... Biennale; connecting the postcolonial way to generate new knowledges of this region s critical cultural conditions of diverse geographies through the various platforms and environmental issues, the community examines the role hu- of 2002 Documenta11; recognizing surrealist artists of color as a mans play...

..., Frieze 6, September 4, 1992, frieze.com/article/documenta-ix-body-language. Stuart Morgan The Second Johannesburg Biennale opened on authored the review but is not identified online. October 10, 1997, and Documenta11 opened on 4 Catherine David, interview with Roberta Fleck and Axel June 8, 2002. Since...

... host with a unique legacy in curating large-scale exhibitions, including Documenta11 and the 56th Min Nka 57 host, unless one is hospitable, a means and condition threatens to undermine its republican principles, to preserve one s identity as a host. Unconditional or reputation, and obligation...