... the intentional ways in which Africans shaped their own photographic representation in a medium whose history was as long and distinguished in Africa as in Europe. Enwezor’s 2001 exhibition The Short Century: Independence and Liberation Movements in Africa, 1945–1994 , was a revelatory journey through the long...

... Enewzor's land• mark exhibition, The Short Century: Independence and Liberation Movements in Africa 1945-1994. Ghada Amer, Sue Williamson, and Ibrahim El Salahi, three of the participating artists, were among the panelists. My remarks, which I am in part sharing with our readers, were by no means...

..., as Performance and Photographic I was the one who set the poses, director, and sitter, as actor, conspire Portraiture," in The Short Century: the lights in a filmic fantasy."4 Independence and Liberation...

..., all airports, the broadcasting the twentieth century gave rise in the second half station headquarters and its relaying facilties at of the century to postcolonial independence and a Abu Za'bal, the Cairo telecommunications center, new self-determination in Africa and beyond that and all major...

... in the formation of the nial occupation was effectively quelled. He was Negritude movement. When Blaise Diagne—the born three years after the creation of the expli• first African to be elected to the French National citly white-controlled Union of South Africa...

... Between the Pacific and the Atlantic, 1945 1965, in addition to his earlier touring exhibition The Short Century: Independence and Liberation Movements in Africa, 1945 1994.8 For uninformed visitors, however, these networks are largely invisible in Pedrosa s presentation of works by artists like Ben...

... and Liberation Movements in Africa, 1945–1994 — An Introduction,” a public address to a CDU youth organization in in The Short Century, ed. Okwui Enwezor (exhibition catalogue) October 2010, German chancellor Angela Merkel (Munich: Prestel, 2001), 10. declared that multiculturalism had...

... conveyed in many of his exhibitions also marked the central issues that informed the images of SB15. In his most important work, The Short Century: Independence and Liberation Movements in Africa, 1945 1994, an exhibition that Kobena Mercer denotes as an intervention that singlehandedly thrust Africa back...

... (such as The ties on the ground. How to explain such a surge of Short Century, Africa Remix, or Authentic/Ex-Centric) interest? Culturalist approaches to "Islam" not only have captured some aspects of the complexity...

.... of Nigeria’s first auction house in Lagos in 2008, For example, while borrowing works for the followed by Cape Town’s Strauss and Company exhibition The Short Century: Independence and (which held its first contemporary art auction in Liberation Movements in Africa, 1945...

... page of a double-page spread from Craig Fraser, Shack Chic, Cape Town: Quivertree Publications, 2002. tographic Portraiture" in The Short Century: Independence 1999), pp. 63-68. and Liberation Movements in Africa, ed. Okwui Enwezor, ^ South African Arts Resource (1997...

...; 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...

... to be postmodern inciting pleasure (the nub that juts out in the mid• with respect to the incongruent histories of Africa dle of the seat as a means to whet the body's pleas• is no easy exercise. Provisionally, then, we take as ures)—in short, Hlobo creates a work that over• first coordinates...

.... Portraiture:' Okwui Enwezor, ed. The Short Century, Independence and 5 Ibid 74. For information on Latin American conceptualism, see Mari Liberation Movements in Africa 1945-1994:' Munich: Prcstel, 2001: Carmen Ramirez, cc Blueprint Circuits: Conceptual Art and Politics in 176-177. Latin America:' Waldo...

... that are being projected and by their accent and created. In The Attendant there is a movement to and fro between a tone reinscribes the viewer as a colonial subject. Indeed one can 19th century abolitionist painting 5cene on the Coast of Africa by FA argue that the voice-over in colonial...

... to the Musée Dynamique. The shot effectively condenses the cross-current of revitalizing connection with, as much as the irrevocable detachment from, Africa, the sixties Black Atlantic and its blood memory engendered.31 Revisiting the interrelated discourse on the Black Arts Movement and the École de Dakar...

... Achille Mbembe, African Modes of Self-writing, Public Culture 14 (2002): 239 73. 8 Seven Stories about Modern Art in Africa, Whitechapel Art Gallery, London, 1995; The Short Century: Independence and Liberation Movements in Africa 1945 1994, Museum Villa Stück, Munich, Germany, 2001, and MoMA PS1...

...." Later that year, Enwezor's traveling exhibition The Short Century: Independence and Liberation Movements in Africa 1945-1994 and Hassan...

..., 1995); Olu Oguibe and Okwui Enwezor, Reading the Contemporary: African Art from Theory to the Marketplace (Cambridge, MA: MIT Press, 1999); The Short Century: Independence and Liberation Movements in Africa, 1945 1994, ed. Okwui Enwezor (Munich: Prestel, 2001); and Sylvester Okwunodu Ogbechie, Ben...

... economy, has produced its own dissonant chords, and places contingency at the heart of what defines the state of culture in many places for the last half of the twen- tieth century, Enwezor stated in the Short Guide to the biennale. It is the intention of Trade Routes: History and Geography...