.... Copyright © 2017 Nka: Journal of Contemporary African Art 2017 stories social activism politics history literature music THE STORIES THAT NEED TO BE TOLD 56TH VENICE BIENNALE Selene Wendt n an essay for Platform Videobrasil, “The Indi...

...Theaster Gates From “Black Collectivities: A Conference,” held May 3–4, 2013, at Northwestern University’s Mary and Leigh Block Museum of Art, the Museum of Contemporary Art Chicago, and the University of Chicago’s Arts Incubator. After examining the vast structural responses to the need...

.... This growing interest, however, has been taking place within an extremely xenophobic environment of anti-immigration legislation, the closing of borders to the West, and a callous disregard for African and non-Western people’s lives. Hence, this essay addresses the need for an innovative framework...

... spots that hinder conceptual, hence political, imagination—a writing of universal history upside down. A universal history worthy of the name will go far beyond the notion of correcting the Eurocentricity of history writing; it will need to be based on a deprivatized, denationalized structure...

...-institutional contexts. Resourceful curators across the world have successfully translated his models into critical formats and inventive ways of producing social and political knowledge, carefully adjusted to local contexts and needs. The aim of this article is to trace the influential postcolonial “platforms...

.... What is necessary now is not Pan-Africanism, feminism, or any movement that seeks to advance the rights of a particular social identity, but, instead, what is needed is a radicalized cosmopolitanism, a shift from a rhetoric of particularism to a rhetoric of universalism in order to help us relate...

... on the need for mutual recognition. Copyright © 2013 Nka: Journal of Contemporary African Art 2013 ABSENT PRESENCE Candice Breitz’s Extra Kerr Houston Journal of Contemporary African Art • 32 • Spring 2013 50 • Nka DOI 10.1215...

... representations of Algerian society different from those of their male counterparts. Considering her three earlier documentaries, one finds recurring themes that also run through Sahraoui’s latest film, Yema , including violence against women, the urgent need to resist, and the Kabyle landscape with its olive...

... that was captured for a Players Magazine photo spread—the author suggests that black porn stars often embrace a politics of illicit eroticism in which they mobilize black sexual subjectivity for their own ambitions and needs, pushing against the prevailing stigmas that render them illicit objects of desire...

... and blur crucial distinctions. Kentridge’s call for a political art of “ambiguity, contradiction, uncompleted gestures and uncertain endings” has great integrity but may also condone insufficiency and may itself need scrutiny and revision. Copyright © 2011 Nka: Journal of Contemporary African Art 2011...

... this movement, about the need for both representation and abstraction. As artists worked books for their most antitext and anti-object possibilities, words were worked for their most oral and visual possibilities. The antitext impulse became the impulse to shape the black aesthetic around sonic imagetexts...

...Edward S. Spriggs This essay documents how Edward S. Spriggs, early director of the Studio Museum in Harlem, built the museum’s artist-in-residence program with the idea of engaging the community by providing studios to artists in need of space and by creating a printmaking workshop. The essay also...

...: How did Attia get the ideas, and what need do they meet for him? Also, how does Attia approach a new project, consider its specific features and its relation to earlier pieces? Attia describes the pieces in the exhibition and ties each into the ideas he tries to grapple with in his art. He conceives...

... monic classes use space as a tool to reproduce its as I read I thought it was an interesting idea to link dominance. For Lefebvre, any change in social rela- colonialism to immigration and migration, but then tions demands a new space.10 We need to conceive I saw the photo accompanying the text...

... adventure, with more need to World, and First World under Fuller’s editorship as protect the ground they were gaining than to extend the most fortunate circumstance I had writing for an inclusive hand to whoever was outside the room. journals. Writing pieces that paralleled the perspec- Then, too...

... There should not be two competing biennales in be typically African. You need both. The Dak’Art the city at the same time.” We had a very serious Biennale is an African biennale, and belonging is conversation, but he maintained that we were geared passport-based: if you belong to the diaspora, if toward...

... in order to make a living, which did not suit me. I realized that I needed some• thing that—I'm...

.... you have to work as a conceptual artist but still There should not be two competing biennales in be typically African. You need both. The Dak’Art the city at the same time.” We had a very serious Biennale is an African biennale, and belonging is conversation, but he maintained that we were...

...- Manso Kwabena, Who needs a heart, 1995, BAFC Films Summer / 2004 Nka > 41 ceptioo of audio situates itself within serious/avant-garde musi• tory around which...

... the needed positive visual images of to stress positive messages in the image with letter- our people? The answer was yes, we can! ing, lost-­and-­found line, and shape, were the begin- A nucleus of artists felt that a collective effort ning elements that created COBRA, the Coalition...