... discourses and visions of Germany’s and Europe’s postunification future. The author argues that the erasure of colonial violence from the continent’s collective memory has a direct, negative impact on its ability to let go of a racialized identity that is in increasing tension with Europe’s actual...

... the landscapes of our collective memory. Copyright © 2012 Nka: Journal of Contemporary African Art 2012...

... of collective memory, effecting nothing short of a different world order. If the present is imagined not as the culmination of the past but rather as its rescue, then a radical pedagogy practices this gesture in its mode of historical recuperation. Theoretical pragmatics as a method of universal history...

...—in and through culture. The Venice Biennale installations of Boyce, Sedira, and Echakhch bring light to intersections of present-day and historical politics and memory by engaging with identity—individual and collective—as constructed, negotiated, and always in flux. Their work is shaped by migration...

... and non-human relations, and looked toward difficult and unacknowledged histories to imagine what might be possible, collectively, now and in times to come. [email protected] Copyright © 2024 by Nka Publications 2024 Black art diaspora migration global art memory colonial history...

...Iheanyi Onwuegbucha [email protected] © 2024 by Nka Publications 2024 Sue Williamson Lebohang Kganye apartheid collective memory cross-generational dialogue REVIEW SUE WILLIAMSON AND LEBOHANG KGANYE Tell Me What You Remember THE BARNES FOUNDATION, PHILADELPHIA MARCH 5 MAY 21...

... with author. 17 Ndinda Kioko, “The Khanga Is Present,” The Trans-African: Reflections on African Art and Visual Culture, httpstrans-african. com/2016/01/15/the-khanga-is-present/. Kioko writes of her own memory of being given a khanga from her grandmother’s collection, following her...

... collective memory, evolving from exhibit and accompanying text, Without Sanctuary: concrete and literal spectacles of white supremacist Lynching Photography in America, served to unsettle violence to one of the most vivid symbols of race the narrative of American innocence and progress...

... relationship requires or relies on the permanace of to a cultural or collective memory. History and medium (museum, public memorial, land• identity are less presence than cautiously encoded mark) but on the medium's ability to struc• by absence. turally...

... and tribulations of this political figure are retold and re-interpreted in a variety of public and private forums. Each telling, like those seen on the walls here, acts not only as an expression of collective memory but also as a vehicle for contemporary socio-political commentary, enabling the Congolese...

...- positories of the experience of mass confinement. Michael Rothberg warns about the danger of con- ceiving the public space where collective memories are articulated as a space of competition between different traumatic memories where a zero-sum struggle for preeminence takes place.24 A similar concern can...

... of nudes in 19th and claimed its community was not prepared for, having already early 20th century African-American painting and sculpture which, demanded that works selected for the exhibition dealing with sexu• she suggests, is related to a collective memory of physical...

... these crucial discussions about As in the past, photographs and film today are art and representation. By featuring some of the considered visual testimony of a collective memory. most extraordinary writers, historians, artists, and Even now, race and power guide our visual reading theorists working...

... [or the spectators to the recovery of collective memory, calling on find] an authentic work they must realise that Western institutions and art lovers—but also those national truth precedes national reality. They must of South Africa, the rest of Africa, and the African reach the fermenting...

... and staged encounters between vic- other. History, Dlamini shows us, is with the family album, the mantle- tims, survivors, and perpetrators have much more complicated than that, and piece, or private scrapbook) that is in- entered collective memory and con- the Terrorist Album provides a material structive...

..., and make such photographs impossible to forget and needful to keep alive in collective memories of revolution. However, the same qualities of excess that immortalize these scenes in public memory become reified into spectacle. The ubiquitous nature of these photographs and the cult of commemoration...

... and tradition are passed from generation to generation neighbors, who provide ever-changing socio- and how collective memory is preserved in sites cultural significance. and everyday objects. Researching a number of Paris-based Algerian artist Rachid Koraichi's historical sites in Philadelphia...

...- to a contemporary event. As art historian Renée tered the museum’s permanent collection, but was 18 • Nka Journal of Contemporary African Art • 36 • May 2015 not cast into bronze. Fuller’s concern for the work Constructing a Memory and its public display affirm her commitment to The black press...

... of the individuals who have worn them, a compelling reference to the labor behind traditional textile production. As is typical of Mahama s ongoing exploration of themes, including migration, globalization, economic exchange, and colonialism, both personal and collective memory are deeply embedded in the fabric...

.... It is quite interesting that the history of Egypt, be it biblical, pharaonic, or even Islamic, has been shaped in the Western collective memory as the geographical space...