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C O N T R I B U T O R S

Ladi’Sasha Jones (New York, NY)

In her work, Ladi’Sasha engages the intersections of digital storytelling, archival materials and cultural production. Recent curatorial projects include ‘Dreaming of Kin’ (2016) with artist Tiona McClodden and the ‘Emmett Till Project’ (2015), a digital commemoration of the 1955 murder and trial of Emmett Louis Till.
Based in New York, Ladi’Sasha is launching a small press and web-platform on Black cultural art research (IDA) and is currently working as Artist Engagement Manager for the Laundromat Project. She holds a B.A. in African American Studies from Temple University and a M.A. in Arts Politics from NYU.

→ www.ladijones.com


Rachell Marie Morillo (New York, NY)

Rachell Morillo is an artist, arts administrator and writer who has organized with communities, both domestic and international, to nurture innovative platforms for social change through visual art. She is currently associate in the Public Programs + Community Engagement Department at the Studio Museum in Harlem, where she develops and assesses the museum’s initiatives to effectively activate it as a community platform and resource.


Enrica Picarelli (Parma, IT)

Enrica Picarelli is an independent researcher, translator and author of the research blog Afrosartorialism. She received a Ph.D in Cultural and Postcolonial Studies of the Anglophone World at “L’Orientale” University of Naples. She was “Michael Ballhaus Fellow” at the Center for Digital Cultures at Leuphana University of Lueneburg and Post-Doctoral Research Fellow at the Centre for Comparative Cultures at Lisbon’s University. She has authored book chapters and articles in refereed journals in the fields of television studies, digital media and fashion studies. Her current research focuses on vernacular sartorialism in Africa and the representation of fashionable black bodies on social media.

→ afrosartorialism.wordpress.com


Julie Aubry-Tirel (Strasbourg, FR)

À la croisée des genres, Julie Aubry-Tirel s’intéresse aux liens entre esthétique, éthique et politique, questionnant en particulier la place du corps, de l’imaginaire et des normes dans les représentations contemporaines. Elle porte un intérêt particulier aux arts populaires, dans une perspective critique, féministe et décoloniale.


Paula de Almeida (Lille & London)

Paula De Almeida is a cultural mediator and producer and has worked for institutions and communities in France, Angola, the UK and the USA. A Cape-verdian born in Lisbon later raised in France and educated in London. Enjoys existing in the liminal. She holds BA in international relations and development studies . She has also undertaken post-graduates studies in educational psychology and history of art. She is passionate about creating ‘social spaces and actions’ with people from all walks of life. Some of her favourite artists are Matisse, Nan Goldin, Adrian Piper, Bruce Lacey, Theaster Gates, Claude Cahun, Francis Bacon, Paula Rego, Lygia Pape and Jeremy Deller.
Founder of Artrepid (art tours and cultural services).


Gwenaëlle Fenon  (Strasbourg, FR)

Gwenaëlle Fenon est diplômée de la Licence « Industries Culturelles, Art et Sociétés » à l’Université de Lille 3. Elle intègre ensuite le Master « Critique- Essais, écritures de l’art contemporain » à l’Université de Strasbourg. En tant que critique d’art, elle a publié pour Transversalles, The Art Momentum et Rue 89.
Depuis ses études en sciences sociales, elle s’intéresse particulièrement aux flux et mobilités culturelles induites par la mondialisation. À travers les productions d’artistes des diasporas du continent africain, elle étudie les formes esthétiques
questionnant la notion de métissage et d’identité dans une perspective postcoloniale.


Jean Kamba  (Kinshasa, RDC)

Jean Kamba vit et travaille à Kinshasa. Licencié (bac +5), en sciences de l’information et de la communication à l’Université Pédagogique Nationale de Kinshasa (UPN), à la faculté des Lettres et Sciences humaines, depuis 2012.
Écrivain, poète, journaliste, et critique d’art ; Il organise aussi des expositions. Il œuvre dans le management de projets artistiques axé sur l’art contemporain ; consultant auprès du collectif « Solidarité des Artistes pour le Développement Intégral » (SADI) A .S.B.L, et auprès du centre d’art Waza ; ainsi que d’autres, œuvrant à Kinshasa et partout dans le monde. Depuis 2006, il fait un travail de suivi, de médiation et d’évaluation, auprès des artistes kinois dans leurs ateliers de création. Cela dans une logique s’axant exclusivement sur des pratiques artistiques contemporaines.

Nana Ocran (London, UK)

Nana Ocran is a London-based writer, editor and lecturer, specialising in contemporary African trends. She was Editor-in- Chief for the Time Out Group’s series of guides to Lagos and Abuja (2007-2013) and has consulted on and established publications on West African culture for the Danish Film Institute, Arts Council England, the Institute of International Visual Arts (Iniva) and the British Council.
She was a curatorial advisor for the Afrofuture design programme at La Rinascente during Milan Design Week 2013. She has contributed articles on design and art for Design Indaba (Cape Town), Gestalten Books (Berlin) and has previously been a Pan African trends watcher for the Breakthrough Innovation Group (BIG) – a think tank for Pernod-Ricard, Paris.  Nana is an associate lecturer at INSEEC. She delivers a course in UK and African trends using London and specific African cities as creative resources. She is currently leading the Peoples’ Stories project – part of the British Council’s arts programme in sub-Saharan Africa.


Marynet J. (Dakar & Strasbourg)

Marynet J est diplômée du Master « Critique et essais, écriture de l’art contemporain » de l’Université de Strasbourg et alumni de la session 1 de la RAW Académie de Dakar. En tant que critique et théoricienne de l’art elle a écrit pour Ososphère, RadaR essai-critique, Cinewax, KinAct et IAM.
Elle étudie l’imagerie allégorique mémétique sur internet et dans les réseaux urbains, les savoirs traditionnels africains, les esthétiques décoloniales, les cosmogonies virtuelles et IRL ainsi que les subjectivations computationnelles qui dessinent nos devenirs connectés. Les productions de Marynet J croisent les disciplines et les géographies pour disséquer l’imagerie de sa génération, celle des millennials.

→ www.marynetj.com


Serine Mekoun (Bruxelles, BE)

Serine Mekoun est une journaliste littéraire et entrepreneur culturel belgo-togo béninoise basée à Bruxelles. À la croisée des générations Z et Y, elle s’intéresse aux espaces de reconnexion dans un va-et-vient incessant entre culture populaire et culture savante, Europe et Afriques et à tous les espaces de germination des futurs.


Mathilde Allard (Leiden & Paris)

Mathilde Allard holds a Master’s degree in Art History, with a focus on African art, from the École du Louvre in Paris (France). She is currently enrolled as a Master’s student in the Museum Studies specialisation at Leiden University (The Netherlands).
She is part of the collaborative research group “Collaboration and contestation in words: Dialogues and disputes in African social realities”, with the African Studies Centre of Leiden. She is particularly interested in the relationship between poetics, politics and ethics in the contemporary museum space.


Anaïs Gningue (Lyon, FR)

Née à Dakar, elle s’envole pour Lyon à 17 ans dans le cadre de ses études en anthropologie et journalisme. Passionnée de culture(s) et d’enjeux sociaux, elle est sensible à la compréhension de l’Autre. Ses origines plurielles lui ont fait connaître très tôt la diversité. La pluralité et les nuances de chaque sujet lui tiennent donc à cœur. Entrepreneuriat africain, transhumanisme, monde arabe, albinisme… elle est dotée d’une curiosité sans limite. Sa plume est passée chez Modzik à Paris, Le Petit Bulletin et Sottises Magazine à Lyon.

→ anaisgningue.wordpress.com


Valerie Behiery (Canada)

Valerie Behiery writes about the aesthetics and cultural politics of art and visual culture from or relating to the Middle East and North Africa with a special focus on women, plural identity and cross-cultural translation.
Having a Ph.D. in art history, she has taught at several universities, done consultancy work for galleries and museums, and presented papers at international conferences. Her writing has appeared in art catalogues, reference works, peer-reviewed journals and art magazines, including Nafas, Islamic Arts Magazine and M: The Magazine of the Montreal Museum of Fine Arts.


Nkgopoleng Moloi Biog (Johannesburg, ZAF)

Nkgopoleng Moloi is a Johannesburg-based writer and photographer with a specific interest in the spaces we occupy and navigate, and how this influences the people we become.
Writing is a tool she uses to understand the world around her and to explore the things she is excited and intrigued by; particularly history, art, language and architecture. She is fascinated by cities, their complexities and their potential.

→ Nkgopoleng Moloi’s Mail&Guardian articles

 

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EZA POSSIBLE, artist collective from RDC, group show opening in Paris @galerie_magnin_a #ParisCapitalOfArts 🤩
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Week-end d'inauguration de l’exposition NA KINSHASA EZA POSSIBLE durant @parisgalleryweekend (17-18-19 mai 2019). Vernissage exposition Na Kinshasa Eza Possible Samedi 18 mai 2019, 14h - 19h @galeriemagnin
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Artistes #NaKinshasaEzaPossible #SteveBandoma #HoustonMaludi #KuraShomali #MonsengoShula #PathyTshindele #EzaPossible #ToutestPossible #congordc #Kinshasa
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Steve Bandoma appartient au groupe Librisme Synergie qui mêle performances, photographie, peinture, collage, détournement d’images... Ses œuvres à connotation politique témoignent le plus souvent d’une société « malade » et de politiques contestables... @SteveBandoma
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Pathy Tschindele et Kura Shomali du groupe Eza Possible (tout est possible) réinterprètent non sans humour des figures politiques, musicales ou sportives ... dont seuls les uniformes ou médailles attestent de leur pouvoir. #pathytshindele
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Houston Maludi prolonge l’« Ecole de la Ligne » de son maître kinois Kamba Luesa pour développer à partir de 2008 ce qu’il nomme le « Monochrome Cubisme Symbiotique Quantique » reconnaissable par un encombrement de fines lignes noires nous immergeant au cœur des mégalopoles africaines et du monde. @HoustonMaludi
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#NaKinshasaEzaPossible #SteveBandoma #HoustonMaludi #KuraShomali #MonsengoShula #PathyTshindele #EzaPossible #ToutestPossible #congordc #kin#exhibition #photography #opening #galerieMagninA #meettheartists #galleryparisweekend2019 #artcollector #contemporaryart #instaart #thankyoufollowers 👌🏾 #ArtInParis #weloveart #theartmomentum
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KEHINDE WILEY, visual artist, exhibition opening in Paris @galerietemplon #ParisCapitalOfArts 🤩
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OPENING ON SATURDAY, MAY 18, 2019 FROM NOON TO 8 PM. For the occasion of @parisgalleryweekend, the exhibition will be open on Sunday, May 19, 2019 from 12 pm to 7 pm.
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Kehinde Wiley, star of the American art scene and Barack Obama’s official portrait artist, is back in Paris. For his first Parisian exhibition since the 2016 show at Petit Palais, he will be unveiling a new series of paintings and a video-installation based on his time spent this past year in Tahiti.
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As the artist explains, “‘I am interested in transformation and artifice. My newest exhibition will engage with the history of France and its outward facing relationship to black and brown bodies, specifically relating to sexual proclivity. Gauguin features heavily in the imagination of France and her global interface – with that comes an entire history of complicated gazing. I interrogate, subsume, and participate in discourse about Māhū, about France, and about the invention of gender.’
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@kehindewiley @galerietemplon #paris #parisgalleryweekend #kehindewiley #artactivism #gender #race #tahiti #americanartist #portraits #galerietemplon #exhibition #photography #opening #meettheartist #artcollector #contemporaryart #instaart #thankyoufollowers 👌🏾 #ArtInParis #weloveart #theartmomentum
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SAMUEL LEVI JONES, visual artist, first exhibition in Paris @galerielelongparis  #ParisCapitalOfArts 🤩
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Opening on Saturday 18 May from 12 p.m. to 7 p.m. Walkthrough with the artist @slevijones at 4 p.m. @galerielelongparis @parisgalleryweekend
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For his first exhibition in Paris, entitled Let Us Grow, the artist has produced a set of new works. In addition to using obsolete institutional publications (encyclopedias, law books, manuals of medicine, etc.), Jones has worked with vintage portfolios, boxes and bindings for French art prints, thus addressing a new European material relating to art history.
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As the artist explains, “I am ultimately thinking about information that is selectively left out.” His works examine urgent questions of how brutality is embedded in institutional systems such as law enforcement, education, and the medical industry.
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@slevijones @galerielelongparis @parisgalleryweekend #samuellevijones #artactivism #americanartist #abstractart #galerielelong #paris #exhibition #letusgrow #gallerywalkthrough #meettheartist #artcollector #contemporaryart #instaart #thankyoufollowers 👌🏾#ArtInParis #weloveart #theartmomentum
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VENICE, BIENNALE 2019
May You Live in Interesting Times
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#biennalearte2019 #venisebiennale2019 #arte #architettura #cinema #danza #musica #teatro #archiviostirico #labiennaledivenezia #venezia #giardini #arsenale #curator #ralphrugoff #58th #internationalartexhibition #contemporaryart
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#participatingcountries #ghanapavilion #madagascarpavilion #southafricapavilion #ivorycoastpavilion #zimbabwepavilion #mozambicopavilion #cubapavilion #haitipavilion #egyptpavilion and many more  #theartworldgathered @labiennale
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#Ihaveforgottenthenight by @joelandria for @madagascarpavilionvenice 🙌🏾👌🏾💕
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VENICE, BIENNALE 2019
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Dead Eye by KEMANG WALEHULERE, 2018.
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This installation scatters a constellation of shadows around the room. Fashioned from salvaged school desks, the small discs hanging from the ceiling are in fact the extracted doorways from many bird boxes the artist has used in his sculptures over the past years. For WaLehulere the bird box represents home, and the displacement that many South Africans suffered under apartheid zoning laws. @kewangwalehulere
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#kemangwalehulere #venisebiennale2019 #deadeye #stunning #artinstallation #sculpturalartwork #birdbox #humandisplacement #zoninglaws #apartheid #southafrica #memories #actsasmemorial #shrine #blacknarratives #contemporaryart
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VENICE, BIENNALE 2019
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Big Wheel by ARTHUR JAFA, 2018.
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Arthur Jafa’s artistic practice is invested in black modes of expressivity, and the challenge of how to render the world from the vantage of black being across different mediums. @anamibia
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#arthurjafa #liondordumeilleurartiste #venise2019 #goldenlionforthebestparticipant #venisebiennale2019 #bigwheel #sculpturalwork #blackexperience #gianttrucktyres #chains #mississippidelta #landscape #memories #blacknarratives #almostreadymades #contemporaryart
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theartmomentum @ Instagram

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