...Deborah Willis; Carla Williams This essay surveys art, critical writings, and poetry on and around the subject of Sarah, or Saartjie, Baartman, a South African Khoi or San woman exhibited as the “Hottentot Venus” from 1810 to 1815 in Europe. The essay shares the authors’ research methods and ideas...

..., over three hundred works in a variety of mediums, and numerous performances that took place in multiple venues. Building on Enwezor’s biennial concept and the many conversations she had with him during his lifetime, Al Qasimi created a space where Enwezor’s curatorial vision flourished. The profound...

...Robert Wade In the spring of 1969, Robert Wade applied for a passport, sold his household possessions, and purchased a ninety-day Eurail pass and a one-way ticket to Copenhagen, Denmark, departing June 1969. Within a few weeks of arrival, at Copenhagen’s Drop Inn restaurant and live-music venue, he...

... distributed network of discursively and conceptually interconnected platforms contributed to restructuring the exhibition venue and to rethinking the interrelationship between the exhibition, as it is traditionally understood as the very core of an art event, and exhibition-related events perceived...

...Steve Pantazis This review is on the exhibition We Face Forward: Art from West Africa Today (June 2 – September 16, 2012), which took place in Manchester, United Kingdom, during the Olympic summer. In particular, it focuses on one venue, the Whitworth Art Gallery, where new works created...

... to Angola, and today he is one of the country’s most important artists. Even though he has exhibited in important venues like the biennales of Venice, São Paulo, and Havana, one of his main concerns is the establishment of better connections within the African continent. Thus he aims to work and exhibit...

...Jennie Hirsh This review examines the midcareer retrospective Yinka Shonibare MBE in the context of its third and final venue, the National Museum of African Art in Washington, DC. The survey featured examples of the artist’s familiar interests—the complex relationship between colonial...

..., due to the reluctance of institutional lenders, further disappoints. It is to be hoped that, as the exhibition travels to other venues, these faults will be rectified. Copyright © 2011 Nka: Journal of Contemporary African Art 2011...

... expectations of the relationships among word, image, and sound. Like the stuttering black bartender in Blonde Venus , these dissonant divas reclaim inarticulacy and nonsense to assert other histories and experiences that are situated at the very center of our own lived experiences of the world. Sonia Boyce...

... for the first time. Other highlights included Mutu’s first-ever animated video, created in collaboration with Santigold, commissioned by the Nasher Museum. The Nasher Museum was the first venue for the touring exhibition, which was on view there from March 21 through July 21, 2013. It traveled to the Brooklyn...

... that would travel to both venues. Copyright © 2012 Nka: Journal of Contemporary African Art 2012...

...• to in the United States. I wonder why these photo• als who were viewing the photographs did not make graphs, as they were shown in different venues eye contact with each other. They really were not around the country, were basically shown in black...

...Valerie Cassel Copyright © 2001 Nka: Journal of Contemporary African Art 2001 While walking through the city to the Biennale's many venues, the parallels between the event and the city became unavoidable. The Biennale became a con• struct of the city—its architectural achievements...

... these are forms of capital that are Fourthly, following a pattern established at the sometimes hard to quantify, they have a magni• other venues, a South African iteration of the 260- tude that should never be underestimated. In page full-color catalog not only in and of itself essence, this mounting...

... was The use of alternative and informal on a process of interaction with the venues (including local drinking spots) environment rather than a finished...

... exhibition in both venues is its gifts to the world. It was in cyclic display design. Walking recognition...

... of Paris, to make contemporary art, particularly sculpture, accessible to the public at large. It is part of an effort to turn the various public spaces in Paris into reg• ular exhibition venues for the display of sculptural works. Following the spring '96 Champs de la Sculpture historical...

.... issues, including the historic role that Germany While there were maps as well as bike tours avail- and the city of Berlin played in the colonization of able to guide visitors to each venue, it was a signifi- Africa. The artists’ work also acknowledged and cant trek from one part...

... than one section and at more than one venue, the thematic labels ultimately seemed arbitrary...

... projects in different venues throughout the city of Dakar. These projects were planned as interventions, site specific and/or performance based works. They all resulted in installations or public art works, and all were negotiated in advance and agreed upon by the Senegalese authorities and Dak'Art...