...Prita Meier During the summer of 2010 the cityscape of Berlin became an important site for contemplating the role and meaning of “Africa” in current exhibition-and art-making practices. Who Knows Tomorrow , a multivenue exhibition organized by the Nation-algalerie, moved beyond multicultural...

...Brett M. Van Hoesen This essay focuses on Who Knows Tomorrow , which ran in Berlin from June 4 to September 26, 2010. Hosted by the Nationalgalerie, Staatliche Museen zu Berlin, this exhibition featured the work of five prominent international artists of African origin— El Anatsui, Zarina Bhimji...

... the promise of a black nation for Americo-Liberians. Even as Washington created an idealized image of Liberian leaders, he also remained critical of them, knowing that his daguerreotype portraits established a mark not yet realized by the new nation. Copyright © 2017 by Nka Publications 2017 Augustus...

...? Gordon Parks: I can't remember having been inclined to be an artist or anything of that sort. [LAUGHS] Yeah, I do remember—we had an old upright piano I used to plunk on, you know, and at 6 years old my father didn't like the idea that a boy played the piano for some...

...: ences. Billy Abernathy did things that were beyond docu- Roy Lewis mentary. I don’t know if you’re all familiar with his work, but it was, just, the artistic thing just blew my mind when I first Excerpts from...

... really works, if there is were supposed to be a part of it all. So I did a lot of read- a word for it. You know human beings, and we don’t make ing about architects—the older ones . . . of Gaudi and Le words for nothing—whether to be used positively or not. It’s Corbusier, Frank Lloyd Wright—and I...

... that's really getting defined, but I don't know whether we...

.... This was the time of the first March on Washington, and we thought it might be interesting as a group of Negro artists maybe to hire a bus—a great number of people, as you know, were converg- ing on Washington—and go down...

... in and an African boy, and stood out because it avoids standard Moscow, not knowing anything about cinema, not even African characterizations. The Russians in the movie are people that cinema. Sissako was trying to understand, not just the cardboard whites that you find...

... and produced a new type of history that present-day Italy still ■ ■ struggles to understand. I want to know what it is I am looking at. I have been in Rome, Italy...

.... El, as many of you here may think, like a share their sense of idealism, I think it is important that phoenix was born fully grown, as if an overnight sensation. we hold on to things that are specific to the subjectivity of But of course, we know that El’s career spans nearly forty the artist...

...? OUATTARA: I was born in Africa; West Africa , in Ivory Coast I don't know why I was born in Africa, perhaps I could have been born in Canada, Moscow, South America, in fact anywhere, I don't know. Anyway I was born and raised in Abidjan, Ivory Coast. I wish to read you...

... with physical gestures, between bodies that resonate with the through the medium of those portraits would that player "redis• conversation, this dialogue is permanently displayed in the cover his intemporal essence Without knowing it, the individ...

...? KF: It's important for her personally and it's important for the public in Cairo. First, as you know, Egypt is an Islamic country where women are suppressed. For instance, it is forbidden to work from nudes in fine arts schools. Art students do not study from models and do not know how to paint...

... this you want to know where the control of the economically sustained Black up inside a small brown box — the nigger is no longer available for pur...

... to be issues and less concerned with the the system now, it's still not enough. able to get funding if they don't take everyday, and the political issues, I You know, you're uncool if you talk 2Nka j Journal of Contemporary African Art about values...

... United States Navy, and later as a photojournalist, you have set those shoots up. I was like a director directing them. I told me that the Kamoinge Workshop was “my academy.” always did that directing. That’s why later on in the eighties For the readers who don’t know, what is the Kamoinge...

... at once. trates you that most people in Africa only know graphic form, and the dialogues which have to Of all your writing and films, has there been a the filmmaker, or do you think that the public respect a carefully planned timing. You cannot time...

..., excavating history, trying stories to my people first. I know that through this approach I can, also, reach au• to define who I am, where I am going and so on. Those sources-elements-espe- diences all over the world. My films have proved that this is possible. To me, cially...

... crying, it scares me, no worries who knows who and who’s done what. me. 2. Taurus, Scorpio it’s no, it’s only footsy a 18. Isn’t this supposed to have something to do mental exercise . . . now that I’m chosen will with a relationship. she like my work or at least respect...