Woensdag 23 April 2014

This legendary band was formed in the late 1960's by guitarist Mamady "Djelike" Kouyate and singer Emile Soumah. They made some of the most beloved music of their generation. Now based in New York, Mamady Kouyate has decided to revive The Ambassadors. Every Wednesday night.

barbes mandingo ambassadors at my space

Manecas Costa heeft niet alleen een van de mooiste stemmen die het Afrikaanse continent de laatste jaren voortbracht, hij is ook een begenadigd gitarist. Costa’s muziek ademt de rijke tradities van zijn geboorteland Guinee-Bissau en is vooral geïnspireerd op de pakkende gumbe. Prachtige melodieën en hypnotiserende ritmes worden hierin doorregen met sprankelende gitaarlijnen. World Sessions concerten beginnen met een film over en een interview met de artiest. Na afloop is er een meet & greet en een dj-set. Eerder concert februari 2014 in Podium Mozaïek was afgelast.

tivolivredenburg podiummozaiek africaserver

Duo exhibition. Frouwkje Smit has been collecting images and text about the African continent from the media since 2008. Smit finds that the way the continent is portrayed is subject to many biased ideas and clichés, and her expanding archive reflects this. In Lagos (Nigeria), photographer Karine Versluis met a number of young women who had come from eastern Nigeria to Lagos to start a new life for themselves. Some of them dreamed of going further, to Europe, because they had heard great stories about it. Versluis photographed the posters that hung above their beds, with images of a perfect and romantic Western world.

ascleiden

Wafaa Samir is a fine art photographer based in Cairo. She’s a graduate from the faculty of fine arts. She didn't study photography but with the help of internet and books she taught herself everything. She now works as a freelance photographer and a photo retoucher. She dedicates her spare time to create personal art projects. Wafaa is also a filmmaker (for the first time in Ana Ana) and a very personal artist. Photography is the way Wafaa has chosen to express herself. As she says in Ana Ana: she likes being behind her camera, where she can see everyone, but no one sees her. She says her camera is like her best friend.

abc behance-wafaasamir

Laten zien hoezeer het recente verleden de waarneming van nu kleurt. Dat lijkt de rode draad te zijn die het werk van de dertien deelnemende fotografen na 1990 verbindt. Hoe spectaculair de verschillende selecties ook zijn, het is fotografie met een dubbele agenda - maar dan wel een in de positieve zin van het woord. Hier wordt vanuit de kennis van toen nauwkeurig scherp gesteld op het heden - en andersom. Paul Alberts, Hugh Exton, David Goldblatt, Pieter Hugo, Santu Mofokeng, Sabelo Mlangeni, Zanele Muholi, Daniel Naudé, Jo Ractliffe, Mikhael Subotzky, Guy Tillim, Paul Weinberg, Graeme Williams en de Market Photo Workshop in Johannesburg.

huismarseille

De indrukwekkende levensreis van Nelson Madiba Mandela, een unieke visie op de ontstaansgeschiedenis van een modern icoon - vanaf zijn jeugd in een klein plattelandsdorp tot en met zijn presidentschap van Zuid-Afrika in de jaren 90. De film schetst een eerlijk portret van Mandela als jonge man met een voorkeur voor boksen, snelle auto's en mooie vrouwen, maar ook als een getalenteerd advocaat en vrijheidsstrijder die wapengeweld niet uit de weg ging om zijn politieke boodschap over te brengen. Regie Justin Chadwick (The Other Boleyn Girl), hoofdrollen Idris Elba (The Wire, Prometheus) en Naomie Harris (Skyfall).

paradisofilms cinema movienewz filmladder

Foam presents The Enclave by Richard Mosse, a major multi-media installation which represented Ireland at the 55th International Art Exhibition - La Biennale di Venezia. The installation, consisting of six large screens, represents the conflict situation in Congo and was shot with infrared film that was designed for camouflage detection resulting in vibrant, psychedelic magenta coloured sites of the jungle war zone. Besides the film installation, related photo works are shown.

foam

Start van de lange wereldtour van de internationale persfotowedstrijd. Ruim 150 indrukwekkende persfoto’s van 53 prijswinnaars, in negen categorieën. De bezoeker maakt in de kerk een fotografische wereldreis door alle continenten en langs de meest uiteenlopende thema’s en historische gebeurtenissen uit 2013. De jaarwinnaar is John Stanmeyer, USA, met zijn foto Signal, gemaakt voor National Geographic. Dit mystieke beeld toont hoe Afrikaanse migranten op een strand bij de stad Djibouti met hun telefoons trachten signaal op te vangen uit buurland Somalië. Ook andere foto's met Afrikaanse onderwerpen zijn in de prijzen gevallen.

worldpressphoto nieuwekerk

The first exhibition to focus on the art of Ife, an ancient city in modern day Nigeria. The artists of Ife made sculptures from metal, stone and terracotta that have placed the region on the map in terms of world art history. The exhibition displays some of the world's most sophisticated historical art works – more than 100 sculptures of metal, stone and terracotta from the 12th to 16th centuries tell the story of the African civilisation of Ife, ancestors of the Yoruba, one of the largest ethnic groups of modern day Nigeria. The exhibition has previously been on view in the USA, Great Britain and Spain.

varldskulturmuseerna africanart

A provocative, multilayered photographic retrospective. This profoundly personal and political exploration of complex notions of desire, diaspora, and spirituality, imaginatively interprets the boundaries between spiritual and erotic fantasy, cultural and sexual difference. A seminal figure in 1980s black British and African contemporary art, Fani-Kayode’s timeless photographic tableaux make the black male body the focal point of enquiry.  Ancestral rituals and a provocative, multi-layered symbolism fuse with archetypal motifs from European and African cultures and subcultures - inspired by what Yoruba priests call ‘the technique of ecstasy’.

iziko

Aspects of a career spanning more than half a century. The works on show are from the collection of George Hallett and augmented by a comprehensive display of biographical information, as well as, book and record covers designed by Hallett. Included on this exhibition, amongst others, are recognisable images of Hout Bay, District Six, the Bo-Kaap, as well as immigrants and gypsies in London. His series of portraits of exiled South African writers, artists and musicians in London and France are of special interest.

iziko

Taking a thematic cue from materiality, PAPERWORK brings together more than 50 works by South African artists utilising paper in different ways across a range of various disciplines and techniques, from literal works such as drawing, printmaking and painting to collage, weaving, folding and digitization. The exhibition includes historical works from the mid-1970’s up until newly produced works from 2014, showing the diverse range of possibilities and influences of paper on art-making and how artists have found unique approaches to engaging with the material.

smacgallery

In deze tentoonstelling nemen we u mee naar Ganvié, een vissersdorp aan de zuidkust van het West-Afrikaanse land Benin. Kenmerkend voor het dorp zijn de woningen op palen, zwevend boven het water van een lagune, het meer van Nokoué. Fotografe Angèle Etoundi Essamba (Cameroun) bezocht Ganvié de afgelopen jaren meerdere keren, ging in gesprek met de vrouwen en volgde hen in het ritme van hun dagelijks leven, waarin water zo’n cruciale rol speelt. Want terwijl de bewoners, de Toffinou, volledig omringd worden door water, is drinkwater schaars. De vrouwen spelen een belangrijke rol in het watermanagement, beheren de grote vaten met drinkwater en zijn uiterst zuinig in het gebruik ervan.

afrikamuseum

Een muzikale documentaire over de emancipatie van Nigeriaanse vrouwen die in Europa zijn uitgebuit en vernederd als prostituee en nu, terug in Nigeria, vol levenslust, aan een nieuw leven beginnen. In de film vertellen zes vrouwen ontluisterende verhalen over hun leven in Europa en worden twee vrouwen gevolgd die na terugkomst in Nigeria een nieuw leven proberen op te bouwen: Janet en Laura. Karin Junger: “Wat er ook gebeurt, deze vrouwen blijven lachen. Een harde, stralende lach die aangeeft: ‘ik ben niet kapot te krijgen’. Nneka componeerde en zong speciaal voor Sexy Money vijf nummers.

deproductie filmladder

On April 7^th 2014, it will have been 20 years since the genocide started in Rwanda. The international community didn’t take action and the country was obliged to find justice on its own. 20 years later some of the survivors say they have forgiven the people who killed their family members. Creative Court wonders: What could forgiveness be in a genocide context and how would one visualize it? South African photographer Pieter Hugo and Dutch photographer Lana Mesić went to Butare, in the south of Rwanda, in an attempt to find out. Part of a series of exhibtiions and events.

facebook-creativecourt pieterhugo lanamesic

On three floors, one each devoted to heaven, hell and purgatory, works of over 50 artists from all over Africa in a variety of media are presented: paintings, photographs, sculptures, videos, installations and performances. Against the background of the many Africa-related exhibitions of the past years, the MMK perceives the need to investigate the significance of African art not only in the post-colonial context but also with regard to aesthetics. The exhibition concept transports the universal issues of the Divine Comedy, an incunable of European literature, into the present and places them in a transnational contemporary context.

mmk-frankfurt

Stedelijk Museum Bureau Amsterdam – in cooperation with the new project space for art, design and architecture at the Looiersgracht 60 – proudly presents Lard Buurman – Africa Junctions. The exhibition is the result of the photographic project on African cities that Lard Buurman (b. 1969, Netherlands) started in the spring of 2008. Now, six years later, this project has been completed and crowned with the publication Africa Junctions. Capturing the City, published by Hatje Cantz Verlag, including three essays by distinguished writers from Senegal, Nigeria and South-Africa, and an exhibition.

lardbuurman smba

De beelden van Hans van der Ham zijn in de eerste plaats vorm, ze bedekken en verhullen, en roepen vragen op over de mens achter het masker, verscholen in vorm. Victor Ekpuk tekent nieuwe vormen op basis van oude Afrikaanse symbolen en ontwikkelt zo een nieuwe unieke universele vormtaal. Obinna Makata maakt collages van Afrikaanse stof en inkt. De vormen zijn metaforen voor de mens, getekend op een elementaire manier. Zijn werk noemt hij wel “Broken pieces of African culture”. De tekeningen van Uche Uzorka zijn een oefening in hoe lijnen vorm worden, waarbij je de lijnen als mensen kunt zien. “Human beings who connect, disconnect and reconnect.”

galeriesanaa

As South Africa moves into its 20th year of democracy, Kannemeyer continues to explode the idea of the 'rainbow nation' through the incisive satire with which he first eviscerated apartheid's officials and bureaucrats. New works will be included in the exhibition. These are often in the genre of extreme satire which can simplistically be described as 'politically incorrect', a term Kannemeyer regards as reductive. Transgression of our strong beliefs and the sacred stereotypes of race, sex and politics is unavoidable in order for satire to be both critical and playful about themes that often abound in contradictions that we choose not to see.

stevenson

For the past two years Naudé has focused on photographing cattle in societies where these animals are revered and venerated. This is a position far removed from the Western world where they are mostly seen as productive sources of milk, meat and skins. Naudé first photographed the Ankole cattle in Uganda, renowned for their majestic horns which ideally curve out and then inward. In Madagascar, the distinctive Zebu cattle form part of the Bara people's cosmology and ancestor worship. In India, the Brahmin culture sees cows, along with all other life forms, as manifestations of god.

stevenson

For Diane Victor, making art ‘provides a way of working through troublesome images that lodge themselves persistently in her memory.’ The process is cathartic. The visual equivalent of psychoanalytic ‘talking cure’, Victor draws her subject matter from far and wide, pulling information from the media and personal encounters, transforming them into rich and heavily populated compositions, full-blown narratives employing her grotesque and characteristic iconography. In this exhibition, one sees Victor still pre-occupied with ‘the big “catholic” sins – greed, lust, envy and excess.

davidkrutprojects