... become, uniquely perhaps, the only African studio photographer to leave the continent before 1960 to study and practice in Europe. Whether in Ghana or England, Barnor documented cultures in transformation, new identities coming into being—the fragmented experience of modernity and diaspora; the shaping...

...Salah M. Hassan In spite of his visionary work and enduring legacy, Karl Marx was a product of his time and of Europe as a rising colonial empire with ambitions of conquest and domination, and the larger framework of his analysis was bound by the evolutionary thinking of that time. Most western...

...Malek Khouri In its origins, surrealism transpired as a radical subversive culture within advanced capitalist societies in Europe during the first few decades of the twentieth century. In colonial and postcolonial societies, however, surrealism variously assumed a quintessence of a protracted...

... of the city to the next, espe- explored the complex postcolonial relationship cially if one was relying on foot, bus, or metro and between Africa and Europe, an interconnected intended to see all of the work on the same day. That history that remains an integral component of said, given...

... as a condition of the possibility for more effective transnational, cosmopolitan alliances. © 2020 by Nka Publications 2020 Cosmopolitanism nationalism postcolonial Europe anticolonialism transnational Journal of Contemporary African Art 46 May 202062 Nka DOI 10.1215/10757163-8308186 © 2020...

... and traditional visual culture or Islamic art as a postcolonial claim of local identity, Gharbaoui’s work is more elusive. Many critics have framed his abstraction primarily through his schizophrenia, as Gharbaoui died from suicide in 1971; this continual recourse to biography over the actual art objects puts...

... at the international conference Rethinking Cosmopolitanism: Africa in Europe| Europe in Africa, held in Berlin, Germany, at Akademie der Künste, February 2 3, 2013. The con- ference was organized as a collaboration between Maumaus School of Visual Arts, Lisbon, Portugal; Institute for Comparative Modernities, Cornell...

... disregard for anatomical accuracy. His themes were for half a century. Born in Onitsha, Nigeria in 1931, he drawn from his childhood in Africa, as we find in such was sent to Europe at the end of the war in 1945 to study early paintings as "Boy with Budgerigar" and "Boy eat• art...

... metropolis• drawings and video works, he presents a story in es of Europe and elsewhere whose political and twelve parts, a "nonstory" in three acts in which economic configurations are increasingly con• people are waiting to get on a bus, waiting in verging to those of the postcolony...

... on the personal Deleuze, Said, Fanon, Braudel, and Clastres. Topics of discussion habits of Mr. Okwui Enwezor, the chief curator.1 included globalization, postcoloniality, world economies, and the The much-debated exhibition in Kassel is the last of five...

... to suggest their sense of four months of traveling."15 They became her muse, and with them she entered the world of belonging or disorientation. make-believe, embarking on a postcolonial Grand The artist studied postcards, street maps, and Tour around Europe to familiar...

... declared in 2017 that African cultural and artistic heritage taken from the continent during the colonial period must be returned as an act of reparation, he set the stage for the coalescing of diverse stakeholders, activists, scholars, and youth movements in Africa, Europe, and the United States around...

.... 1737. Oil on canvas, 32 x 42 cm. Courtesy Musée du Louvre. Photo: Herve Lewandowski For the guided visits, I chose to tour the galleries plantation economy to Europe. Paintings such as as they were, rather than ask curators to look in Chardin’s The Smoker’s Case depict the world...

... a photocopy of Le Corbusier’s use of the “Producing the Common” to really be animated, we needed brise-soleil for the spectator to take away) as well as its to have the participating artists to collectively produce colonialist ambitions in juxtaposition with postcolonial “Anonymous...

... politics of national of history under the organizing principle of his discourse. 2 He goes on to acknowledge coloniza- world spirit, every culture/nation was detrimen- tion as the source of the paradoxical affirmation tally stereotyped against the sovereignty of Europe of origin and a disavowal of past...

..., interweaving Despite Bekolo’s provocative interrogation, per- fragments of documentary films with meditations haps Africa does have a future after all. Even in on exile and the postcolonial condition either in Europe and in Portugal. Africa or in the diaspora. At the same time...

... and continue to frame the twentieth-and twenty-first-century Pan-African artistic imaginary. Their work provides us the opportunity to measure and appreciate the various strategies developed by postcolonial African artists to define themselves as artistic subjects in an age of intense globalization, migration...

... - Fple, have been risking their lives trying to cross to Europe and North America, as well...

... or America (to say nothing of Europe Europe of nothing say (to America...

... 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...