In 2004, Africa Remix: Contemporary Art of a Continent opened at Museum Kunstpalast in Düsseldorf and then went on a three-year tour, travelling to London, Paris, Tokyo, Stockholm, and finally Johannesburg. Curated at large by Simon Njami, the exhibition showcased the work of more than eighty artists from twenty-three countries created in the previous ten years.1Africa Remix was staged off the back of a decade that had witnessed the globalization of the artworld and the emergence of the category of “contemporary African art.”2 Several landmark exhibitions were organized in this decade, such as Susan Vogel's Africa Explores (1991) and Okwui Enwezor and Octavio Zaya's In/Sight: African Photographers 1950 to Present (1996), to prove that indeed the continent was a site of modern and contemporary art production. If these earlier exhibitions were staged at a moment in time when modern and contemporary African art was being introduced to...
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Spring 2025
March 01 2025
A World in Common: Contemporary African Photography curated by Osei Bonsu Unavailable
A World in Common: Contemporary African Photography
curated by Osei
Bonsu
Tate Modern July 6,2023 - January 4, 2024
Gabriella Nugent
Gabriella Nugent
Gabriella Nugent is a Leverhulme Early Career Fellow in the Department of Art History and World Art Studies at the University of East Anglia. She is the author of Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo (2021). [email protected]
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Gabriella Nugent
Gabriella Nugent is a Leverhulme Early Career Fellow in the Department of Art History and World Art Studies at the University of East Anglia. She is the author of Colonial Legacies: Contemporary Lens-Based Art and the Democratic Republic of Congo (2021). [email protected]
Online ISSN: 1937-2108
Print ISSN: 0001-9933
© 2025 by the Regents of the University of California
2025
Regents of the University of California
African Arts (2025) 58 (1): 80–82.
Citation
Gabriella Nugent; A World in Common: Contemporary African Photography curated by Osei Bonsu. African Arts 2025; 58 (1): 80–82. doi: https://doi.org/10.1162/afar_r_00791
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