Maandag 19 November 2012

Images by Congolese photographer and video artist Sammy Baloji feature the industrial landscapes around Lumbumbasi, the capital city of Katanga in the Democratic Republic of the Congo. The images serve as a visual indictment of the failed postcolonial leadership that mismanaged and squandered Katanga’s industrial resources, its modernity, and the economic prosperity of the region.

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Lalla Essaydi's elegant, creative work belies it subversive, challenging nature. Approximately 30 works of diverse media are drawn from each of her photographic series, including the richly hued Silence of Thought and the more widely known Converging Territories and Les Femmes de Maroc. The exhibition also includes a selection of new works, as well as rarely exhibited paintings and installations.

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Brings together the full range of the artist’s work, from wood trays referring to traditional symbols of the Akan people of Ghana; to early ceramics from the artist’s Broken Pots series, driftwood assemblages that refer to the trans-Atlantic slave trade, and wooden sculptures carved with a chainsaw; to the luminous metal wall-hangings of recent years.

denverartmuseum africanart

De veelzijdige Zuid-Afrikaanse kunstenaar William Kentridge ontwikkelde de afgelopen decennia een multidisciplinaire werkwijze waarin film, animatie, tekenkunst, grafiek en theater samenkomen. Typerend voor zijn werk zijn de krachtige houtskool- en pasteltekeningen die hij tot bewegend beeld transformeert. Black Box/Chambre Noire is een mechanisch theater waarin gedurende 23 minuten zes mechanische figuren beurtelings optreden tegen een geprojecteerde achtergrond van geanimeerde houtskooltekeningen.

jhm dafrique

An outstanding exploration of the sounds and rhythms of Africa and the Diaspora and a groundbreaking digital experience that pays homage to artists and music of Africa and the African diaspora, the first tribute to black artists of its kind. The exhibition uses state-of-the-art technology, with over 100 interactive audio-visual setups transmitting the sights, sounds and rhythms of artists from all over the world. The exhibition comprises of a mind-blowing 13 hours’ worth of footage.

blackmusicworldwide artlink

Baron Binnert Van Harinxma thoe Slooten en bioloog Gerrit Brouwer kregen op 2 november 1930 de unieke kans om de kroning van keizer Haile Selassie in Ethiopië bij te wonen. Maak hun expeditie mee met de foto's, persoonlijke aantekeningen en filmbeelden. De reis naar Ethiopië had oorspronkelijk het doel om de dierenwereld te bestuderen, maar hoogtepunt van de reis werd uiteindelijk de kroning van Haile Selassie.

tropenmuseum

Photographic exhibition examining the legacy of the apartheid system and how it penetrated even the most mundane aspects of social existence in South Africa, from housing, public amenities, and transportation to education, tourism, religion, and businesses. Complex, vivid, evocative, and dramatic, it includes nearly 500 photographs, films, books, magazines, newspapers, and assorted archival documents and covers more than 60 years of powerful photographic and visual production that forms part of the historical record of South Africa.

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HIV staat in Afrika voor Hoop is Vital. Mensen in Mutare (Zimbabwe) hebben dat ontwikkeld als levensstijl. Met een fototentoonstelling van 10 intieme portretten van mensen die in bijzonder moeilijke omstandigheden vorm geven aan hun leven, geeft Dik Bol inkijk in deze dagelijkse dans op de vulkaan. Opening: 14 oktober, 16:00 uur. In het kader van de stedenband Haarlem-Mutare.

galerieknh haarlemmutare

Understood broadly as “the use of borrowed elements in the creation of a new work”, it is 1970s Appropriation Art with which Uwe Wittwer (Switzerland) shares leitmotif. In this new body of work the artist adopts and adapts anonymous, unfamiliar but somewhat recognizable images.  These include still lifes, interiors, family portraits, genre scenes and Old Master paintings. Wittwer digitally processes these found images by mirroring, inverting, blurring, distorting, under- and over-exposing, omitting, isolating and layering the image’s original elements.

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Hollandaise is a critical, contemporary art exhibition built around this typical textile. The idea for the exhibition is from curator Koyo Kouoh, who is director of her own art institution in Dakar, Senegal. She asked five artists to delve into the phenomenon of Hollandaise and the peculiar trading relations and cultural interchanges that it represents. They all produced new work especially for this exhibition, which after Amsterdam will travel on to Dakar.

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The artist last major solo exhibition was at the Antropologie Gallery in Rockefeller Centre New York in 2011. This established him as one of the foremost artist working in ceramics from South Africa, working almost exclusively with this medium for the last 20 years  his art is often infused with personal concerns about identity ,sexuality and more increasingly political issues.

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In all of the descriptions of his work, Adriaan de Villiers (Cape Town, 1984) names the Spanish architect, Gaudi, as one of his main sources of inspiration. De Villiers chose ceramics as his discipline. He makes rough sketches of his next sculpture and sculpts it without losing his original vision for it. When other ideas arise during the creation process, these are freely expressed.

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For three weeks, Galerie Lumières d'Afrique is proud and excited to display a selection of recent works by two contemporary artists  Vernissage and exhibition opening: Friday 9 November: 18:00 - 22:00.

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Acclaimed for his work in animated film, visual art, theater, and opera, William Kentridge had his first survey exhibition in the United States in 2001 at MCA Chicago. From this exhibition, the MCA acquired more than a dozen drawings and two of his best-known films: Felix in Exile (1994) and History of the Main Complaint (1996), both of which will be on view. The drawings featured in the exhibition are those used to make this latter film—charcoal sketches that Kentridge erased and reworked to create the memorable segments that depict his alter egos and their struggles in late and post-apartheid Johannesburg: Felix Teitlebaum, the romantic artist who is always shown nude, and Soho Eckstein, the self-absorbed, wealthy mine owner and land developer who always wears a pinstriped suit.

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The exhibition focuses on works made by the artist with Nomsa Dhlamini, the domestic worker who helped raise him and, now in her early 90s, continues to play a pivotal role in his life and work. In their various encounters, Cohen and Dhlamini appear as first humans, direct descendants of the apes; as people of contrasting skin colours, subject to anthropological classification; as luminous beings clad in brilliant costumes of fiber-optic light. The exhibition features new works relating to the Cradle performance and conceived for the gallery, including a video of Cohen and Dhlamini's interventions in the caves, and studio photographs.

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Since his last solo exhibition in Cape Town in 2008, Odita has created large murals at the US Mission to the United Nations in 2010; the New Orleans Museum of Art and the Kiasma Museum of Contemporary Art, Helsinki, in 2011; and a stained-glass installation in the 20th Avenue subway station in New York in 2012. These site-specific installations are three-dimensional counterparts to his paintings on canvas, and together they reveal the development of Odita's life-long meditation on colour.

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For this exhibition Botes continues his recent series of paintings on canvas while also showing his distinctive reverse-glass paintings, sculptures and drawings. The paintings on this show have evolved from the religious imagery he presented at his last exhibition at the gallery in Cape Town. Over the past few months he has also been fascinated by the optical effects of colour, and has created paintings that pulsate with a psychedelic intensity. The result is an unlikely and unexpected presentation of iconic images. Another series of paintings features horrifying imagery, yet rendered in beautiful and optical colours that simultaneously seduce and repulse, reminding us of how our perceptions are influenced by colour.

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Taylor has chosen to approach this exhibition as a playful exercise in describing the landscape of his personal ‘island’. Not only is this body of work a return to large-scale drawing for Taylor, but also, a return to using narrative as a starting point for the image-making process. Devising a story, in the form of a poem, and working with a select number of preconceived titles, Taylor attempts to create a familiar metaphor for which to make drawings. The narrative shifts simultaneously between two chief protagonists - the hero, Mickey, and his ego, the island. Diving between character sketches the pictures illustrate an uncanny likeness of the two subjects.

whatiftheworld