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UNFCCC organizes Africa Week every year; in addition to the main events that they put together, they also publish a calendar of side/affiliated events usually hosted by the world bank, undp, etc. about climate solutions in africa. They deal mostly with public sector interventions and changes that can be made at the government-level, so what if TAC hosted an event focused on climate resilience/innovation at the community level. both in-person and virtual, we organize a panel of people or NGOs that have worked to reduce the impacts of climate change on their communities using small-scale innovations.

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Africa Climate Week 2021

ACW 2021 is accelerating collaboration and integrating climate action into global pandemic recovery. Building forward opens an opportunity to address social inequalities and invest in economic development that is good for humanity and nature.

The ACW 2021 Virtual Thematic Sessions take the pulse of climate action in the region, explore climate challenges and opportunities, and showcase ambitious solutions. These sessions focus on priorities identified earlier in the year at the Virtual Regional Roundtables and the outcomes will be carried forward to a High-Level Side Event at COP26. This is an opportunity for regional stakeholders to have their voice heard and contribute to COP 26.

ACW 2021 was held from 26-29 September and was hosted by the Government of Uganda. Explore the following links to see more from ACW 2021:

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ACW 2021 is accelerating collaboration and integrating climate action into global pandemic recovery. Building forward opens an opportunity to address social inequalities and invest in economic development that is good for humanity and nature. The ACW 2021 Virtual Thematic Sessions take the pulse of climate action in the region, explore climate challenges and opportunities, and showcase ambitious solutions.

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Uptown Vinyl Supreme was born in The Bronx, NYC as an homage to the DJs and party cultures of the past. They honor this magic today by continuing to shine the analog light in digital times.

Join us on the last Saturdays of March, April, and May to experience Fotografiska New York's very first all-record jams. Uptown. Downtown. Vinyl lovers unite!

General Admission tickets include museum admission.
Space is limited for Patron RSVP's to general admission events.
Members are able to get a limited number of discounted tickets on a first come, first served basis.

Patron & Member tickets include one complimentary drink.
illustration by @darbyclash

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Uptown Vinyl Supreme & Friends - Fotografiska New York

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Uptown Vinyl Supreme was born in The Bronx, NYC as an homage to the DJs and party cultures of the past. They honor this magic today by continuing to shine the analog light in digital times. Join us on the last Saturdays of March, April, and May to experience Fotografiska New York's very first all-record jams. Uptown.

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I always find myself returning to the vessel. It is part of the intellectual life force of my practice and it precedes all other forms of making.
-Theaster Gates

Gagosian is pleased to present Black Vessel, Theaster Gates's first-ever solo exhibition in New York.

Gates's oeuvre is among the most conceptually and materially rich in contemporary art, anchored equally in the canons of art history, the racial ideology of the Black diaspora, and the artist's own personal history. Through an art practice predicated on cultural reclamation and social empowerment, Gates exchanges and recharges objects and ideas, proposing the artwork as a communicating vessel or sacred reliquary of recollected histories, critical vitality, and shared experience. Traversing a broad range of formal approaches such as painting, sculpture, sound, and performance, as well as the processes of salvaging, archiving, and place making, he delivers penetrating social commentary on labor, material, spiritual capital, and commodity within a close examination of the urban condition.

The Brick Reliquaries (2020) are Gates's latest sculptural experiments. By firing bricks with a strong manganese content to an excessive 2300°F, the known properties of the materials are transformed into the mysteries of heat-based sculpture. In some instances, the material loses its specificity when pushed to such limits; in others, the carbide shelves inside the kiln fuse with the bricks and other sculptural elements that rest on them, becoming host to material transformation.

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Theaster Gates: Black Vessel, 555 West 24th Street, New York, October 10, 2020-January 23, 2021 | Gagosian

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I always find myself returning to the vessel. It is part of the intellectual life force of my practice and it precedes all other forms of making. -Theaster Gates Gagosian is pleased to present Black Vessel, Theaster Gates's first-ever solo exhibition in New York.

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The Future is Unwritten: Khalid AlBaih, Khartoon! - Google Arts & Culture

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.

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For the 13th edition of the Bamako Encounters - African Biennale of Photography, on view at various venues in Bamako, Mali from 20 October 2022-20 December 2022, the overarching focus lies On Multiplicity, Difference, Becoming, and Heritage.

The dominant narrative in this 'globalized world' is, incidentally, that of singularity-of universalism, of single identities, of singular cultures, of insular political systems. With this narrative, however, comes an illusory sense of stability and stasis; identities seem inalterable, cultures are immutable, political systems prove uneasy in the face of change. Thus, in sustaining this pervasive discourse, there has been a great loss of multiplicity, of fragmentation, of process and change, and not least of complex notions of humanity and equally complex narratives.

In de-centering this year's Biennale On Multiplicity, Difference, Becoming, and Heritage, General Director Cheick Diallo, Artistic Director Bonaventure Soh Bejeng Ndikung, and the curatorial team - Akinbode Akinbiyi (artist and independent curator), Meriem Berrada (artistic director of MACAAL, Marrakech), Tandazani Dhlakama (assistant curator Zeitz MOCAA, Cape Town), and Liz Ikiriko (artist, assistant curator Art Gallery York University) - of the Bamako Encounters pay a powerful tribute to the spaces in between, to that which defies definition, to phases of transition, to being this and that or neither and both, to becoming, and to difference and divergence in all their shades. Accordingly, Amadou Hampâté Bâ's statement (Aspects de la civilisation africaine. Éditions Présence Africaine. 1972) presiding over the manifestation, Maa ka Maaya ka ca a yere kono, translates to, "The persons of the person are multiple in the person."

A key tool for negotiating the processual and shifting nature of multiplicity lies in storytelling. It is the central medium through which humanity points the lens on itself and launches an attempt at self-understanding and reflection, and the breadth of answers given throughout history testifies to the congenial nature of storytelling and multiplicity. Moreover, the stories we tell not only negotiate who we are but also expose underlying currents of who we will become in the future. This is the concern lying at the heart of the 13th edition of the Bamako Encounters-the stories we tell, the multiple facets of humanity we accommodate, notions of processuality, Becoming in Being, embracing identities that are layered, fragmented, and divergent, and the multifarious ways of being in the world, whether enacted or imagined. It should be emphasized that this does not apply only to questions of personal identity. On the contrary, it is a bold affirmation of transformation and transition, of becoming in an emphatic sense, and is thus equally significant for state politics. It also rings true for questions of heritage/patrimony. Embracing the kaleidoscopic legacy of our multiple heritages means to open them up and liberate the term from its etymological roots (the Latin patrimonium means "the heritage of the father"), imagining in its place an inclusive concept of matrimony.

Thus, in this 13th edition of the Bamako Encounters with the title Maa ka Maaya ka ca a yere kono, artists, curators, scholars, activists, and people of all walks of life are invited to reflect collectively on these multiplicities of being and differences, on expanding beyond the notion of a single being, and on embracing compound, layered and fragmented identities as much as layered, complex, non-linear understandings of space(s) and time(s).

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Edition 2022 - African biennial of photography

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For the 13th edition of the Bamako Encounters - African Biennale of Photography, on view at various venues in Bamako, Mali from 20 October 2022-20 December 2022, the overarching focus lies On Multiplicity, Difference, Becoming, and Heritage.

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Due to the process-based nature of the Session program, Dana's Beauty Supply will undergo constant modifications; the features of this page provide accruing information on the project's developments.

Dana's Beauty Supply: Grand Opening
Friday Sep 10, 2021⋅ 6:00 - 9:00pm | 46 Washington Ave BK, NY 11205

Join us for the Session kickoff and Grand Opening of Dana's Beauty Supply where guests can shop blow-out sale deals, celebrate, and relax. Registration is strongly encouraged. Visitors are invited to engage with the store on a first-come first-served basis-with a limited number of people admitted at a time.
Register Here Online Korean Language Course
Dana's Beauty Supply is offering a 6-week free online Korean language course with Eve Talley, an experienced Korean language teacher with a BA in Korean Language and Culture.

Classes will be held online every Thursday, 6:30-7:30pm EST from Sept 23, 2021-Oct 28, 2021 (6 weeks). If you have any questions please contact: info@recessart.org

Registration Deadline: Sept 22, 2021
Register Here Lynn's Soap-Making Workshop

Wednesday, Oct 6th 2021, 6:30-8:00pm | Online + In-person

46 Washington Ave BK, NY 11205

Lynn, owner of FeelzReal Cosmetics, is offering a virtual soap-making workshop that you can follow along with at-home or in-person at Recess. Learn how to make decadent soaps utilizing all-natural ingredients. Recess is providing at-home kits that can be picked up at Recess. Open to all ages (children welcomed!)
Register Here

Visiting Hours:

Thursday, 2:00 pm - 8:00 pm
Friday & Saturday, 12:00 pm - 6:00 pm

46 Washington Avenue
Brooklyn, NY 11205

Visitors (age 12+) must show proof of vaccination upon arrival to Recess. Please be prepared to check in at the front desk to show your proof of vaccination. Per the city guidelines, we accept the NYC Covid Safe App (Android and iOS), Excelsior Pass, CDC Vaccination Card (or photo), NYC Vaccination Record, or an official immunization record from outside NYC or the US.

Masks (age 2+) are required for all visitors.

Click here to reserve timed tickets.

Ongoing programming:

As a product overwhelmingly sold by Koreans to Black Americans, Black hair care and beauty supply stores have often served as both the site and object of tensions between Black and Korean communities and a marker of the white supremacist agenda to divide us. Dana's Beauty Supply constructs an experimental beauty supply store and hair gel manufacturing lab, a model for what a Korean-owned beauty supply can exist as in our modern times

With fully-stocked inventory curated by Paris Beauty Supplyz, blowout sale prices, and proceeds being reinvested to support Black entrepreneurship, it reimagines the beauty supply as a space for critical dialogue, accountability, creativity, and community while servicing your beauty supply needs.

Dana Davenport's Dana's Beauty Supply is part of Recess's program, Session, which invites artists to use Recess's public platform to combine productive studio space with dynamic exhibition opportunities. Sessions remain open to the public from the first day of the artist's project through the last, encouraging sustained dialogue between artists and audiences. Due to the process-based nature of Session, projects undergo constant revision and the above proposal is subject to change.

About the Artist

Dana Davenport is a Korean and Black American interdisciplinary artist shifting between performance, sculpture, and video. Davenport earned a BFA in Photography from School of Visual Arts in New York City. Her work has been shown throughout the United States and internationally including Gibney Dance, New York, NY; Watermill Center, Water Mill, NY; NYU Skirball, New York, NY; BronxArtSpace, Bronx, NY; Brown University, Providence, RI; NARS Foundation, Brooklyn, NY; Cultural Center Recoleta, Buenos Aires, AR; Seventh Gallery, and Sydney, AUS, to name a few. Davenport is the 2018 Chashama ChaNorth fellowship recipient and has completed the 2017 SOHO20 Gallery AIR Program. She co-organized Free Space, month-long programming at Miranda Kuo Gallery in 2018.

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Dana Davenport: Dana's Beauty Supply | Recess

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Due to the process-based nature of the Session program, Dana's Beauty Supply will undergo constant modifications; the features of this page provide accruing information on the project's developments. Dana's Beauty Supply: Grand Opening Friday Sep 10, 2021⋅ 6:00 - 9:00pm | 46 Washington Ave BK, NY 11205 Join us for the Session kickoff and Grand Opening of Dana's Beauty Supply where guests can shop blow-out sale deals, celebrate, and relax.

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a core collective of black women filmmakers whose priority is to create community and spaces for support, exhibition and consciousness-raising. The group is formed by Frances Bodomo, Dyani Douze, Ja'Tovia Gary, Chanelle Aponte Pearson, and Stefani Saintonge.

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Kubik - Low-carbon Buildings from Plastic Waste

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Kubik - Low-carbon Buildings from Plastic Waste

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Kubik makes low-carbon buildings from plastic waste. Bringing environmental dignity to how countries grow.

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Mambo Heritage is building sustainable futures anchored in humanity and innovation.
We are redesigning, rebuilding, and restoring the cultural, political, and economic relationships around regeneration, land preservation, and conservation.

We utilize the adaptable tools of anthropology, technology, and blockchain to build equitable solutions for climate change.

Because we understand that communities are living ecologies and their heritage survives when their economies thrive, we know that the intrinsic value of heritage can be measured and used as a stimulus for localized long-term prosperity.

Mambo Heritage is a passionate group of designers, thinkers, and beauty seekers, driven to encourage legacy and culture awareness for tangible impact. We value Resilience, Solidarity, Connectivity, and Sustainability.

We are embarking on a land regeneration project in the Tana and Athi River Basins of Kenya. The Basins have exceptional resource value including, but not limited to water, arable land, forests, wildlife, and minerals. This presents an excellent opportunity for socio-economic development and ecosystem restoration.

The TARDA Project will therefore restore 13,800,000-hectares of land in nineteen (19) Kenyan counties. It will prioritize indigenous land agency and local biocultural ceremonial protocols to connect the dots between degraded areas and effective interventions.

To achieve this in part and as an extension of other project activities, Mambo Heritage will plant 2 million trees in 12 months. Transparent, scalable, and open-source forest monitoring and carbon financing are the guiding pillars of this initial phase. Browse projects

Mambo Heritage is measuring its 4 pillars of resilience, connectivity, solidarity and sustainability against the regenerative human process as a condition. The global and localized status quo around sustainability is without a collective adoption, this is mainly due to the inadequacy of equity around the market society versus the market economy. ...

Forbes Africa - Leading Women Summit "Jack of too many trades" They've called her "Tone down your ambition" They've insinuated

Little did they know, each time, They fueled the fire some more, inside Every day - she's inspired to grow To reach high and touch the sky ...

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Mambo Heritage is building sustainable futures anchored in humanity and innovation. We are redesigning, rebuilding, and restoring the cultural, political, and economic relationships around regeneration, land preservation, and conservation. We utilize the adaptable tools of anthropology, technology, and blockchain to build equitable solutions for climate change.

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Once more, the world of streaming makes widely available a wonderful movie that would likely have made it into only a handful of theatres nationwide. This Sunday, March 31st, Netflix will release "The Burial of Kojo," the first feature directed by Blitz Bazawule, who was born and raised in Ghana and is now based in Brooklyn. (Kudos to Ava DuVernay, whose company, Array, is distributing the film.) In its bold and limpid lyricism, the film is both an anguished delight in itself and an exemplar of dramatic freedom that should stand as a model for some filmmakers and a reproach to others.

"The Burial of Kojo" is centered on a young girl named Esi (Cynthia Dankwa), who lives with her mother, Ama (Mamley Djangmah), and her father, Kojo (Joseph Otsiman), in a wondrous but poor part of Ghana-a village of small houses built on struts in a lake and connected to the shore by narrow, slatted walkways. Esi tells her story-narrated in voice-over by her grownup self (played by Ama K. Abebrese)-with a tone of reminiscence that restores the perspective of her childhood, and Bazawule directs the film with a subjectivity to match. Esi's childhood world is one of dreams, visions, and premonitions, which burst onto the screen with a spare, frank simplicity, reflecting the precocious yet ingenuous sensitivity with which she confronts implacable realities. Her father, Kojo, is a loving ne'er-do-well, who takes Esi around the lake in his boat and spins tales that are entrancing but aren't always of the brightest cheer: he's haunted by dreams that, in turn, are based on bitter days he spent living in the city, when he and his elder brother Kwabena (Kobina Amissah-Sam) were rivals for the same woman. Kwabena married her, but, on their wedding day, she died in a car accident, and the bond between the two brothers, who had been combative rivals since childhood, was definitively poisoned.

Esi's parents are faring poorly, subsisting on the meagre earnings Ama brings in as a seamstress, when, one day, Kwabena turns up with brash promises of a better life in the city. Kojo-against Ama's better judgment and in the face of Esi's forebodings-uproots them from the lake village and brings them to a small apartment in Accra. There, Kwabena hatches a scheme to pan and dig for gold on the off-limits site of a mine where he used to work, which has been taken over and shut down by a Chinese company. He also lures Kojo into the risky plan. Meanwhile, Esi's life at home-spending time with her mother in a small apartment, far from the adventures and splendors of lakeside life-is occupied with the TV, on which they watch telenovelas dubbed into English and find that the shows reflect, crudely but revealingly, some of the dramas of their own lives.

The world is full of signs and symbols to those who are alive to them, and Esi's years in the country have made her intensely perceptive and intuitive. There, a visit from a blind shaman, bringing a gift of a sacred white bird and a premonitory tale of a menacing crow, instilled in Esi a sense of looming danger that her new circumstances threaten to realize. Working with the cinematographer Michael Fernandez, Bazawule reveals Esi's inner world in images of poetic audacity, sometimes turning them upside down, employing bold color shifts (for instance, tinting the sky electric pink), using fast and slow motion and digital superimpositions, or running footage backward. He presents the practicalities of physical life with a vital visual energy, as well: showing shimmering reflections of sunlight on water, creating casually sculptural stagings of dramatic confrontations and even of conversations, finding strikingly original angles from which to regard banal doings (the entry into a new home, a sale of gold, a visit to a police station, a rooftop conversation), and transforming contemplative gazes of fleeting moments into indelible experiences. (Bazawule is also a musician, whose stage name is Blitz the Ambassador, and he composed the film's score.)

The sites and conflicts that Bazawule depicts in "The Burial of Kojo" have broader social and political resonance, as well. Among the hard specifics of Ghanaian life that he explores is the economic colonialism of newly arrived Chinese businesses (which is also seen in the Chadian director Mahamat-Saleh Haroun's great film " A Screaming Man," from 2010). He displays the petty corruption of the local police force and the corruption of higher levels of law enforcement by the new business interests proliferating in the country. He shows the contrast between the growing and modernizing city and the citizenry left to struggle desperately in its shadows-and the personal abuses and cruelties that poverty and despair incite.

In its brief span of an hour and twenty minutes, "The Burial of Kojo" briskly and deftly evokes a tightly interwoven web of relationships fraught with long-standing tensions and grudges that leap beyond personal ties to evoke age-old curses and spiritual realms. The bonds of love are tinged with regret and resentment, but, in Esi's warm retrospective view, it remains vital and inspiring nonetheless. Her adoring but clear-eyed and rueful recollections of her father, her admiring and tender vision of her mother, her memories of silent alertness to the dangers of miscreants and troublemakers in their midst, and her too-early confrontation with the emotional and social realms of grownups converge in an intricate vision of a turbulent and violent legacy that both roils and powers a lifetime of creative passion. Bazawule offers a portrait of a dawning artist that catches the early flame of artistic inspiration from within.

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"The Burial of Kojo," Reviewed: A Boldly Lyrical Portrait of a Young Ghanaian Girl

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Once more, the world of streaming makes widely available a wonderful movie that would likely have made it into only a handful of theatres nationwide. This Sunday, March 31st, Netflix will release "The Burial of Kojo," the first feature directed by Blitz Bazawule, who was born and raised in Ghana and is now based in Brooklyn.

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Personally very interested in cities in africa and the process of rapid urbanization - could be a cool way to introduce people to some of the many large urban areas on the continent they haven't heard of, and for city planners, governors, mayors, etc. to talk about how they're having to adapt infrastructure & development to climate change. Part showcase of resilience, call to action on climate, but also chance to learn about interesting places: Luanda, Addis, Mombasa, etc.

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Cities least responsible for climate change will be those hardest hit

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African cities adapt as climate crisis strikes

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Cities least responsible for climate change will be those hardest hit

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Black Portraiture[s] - Black Portraitures is an academic conference series lorem ipsum dolor sit amet, consectetur adipiscing elit. Nunc nec ligula id dolor scelerisque fermentum at ut augue.

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What is called the imagination (from image, magi, magic, magician, etc.) is a practical vector from the soul. It stores all data, and can be called on to solve all our "problems." The imagination is the projection of ourselves past our sense of ourselves as "things."

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Malinche--reexamination of an indigenous woman who helped Cortes in his conquest of Mexico and was regarded as a traitor but now rethought as herself an oppressed person. AT then end, one had the chance to express your own view

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Malinche--reexamination of an indigenous woman who helped Cortes in his conquest of Mexico and was regarded as a traitor but now rethought as herself an oppressed person. AT then end, one had the chance to express your own view

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I know I know -- animals africa ugh -- but what if we were able to reframe this towards exhibits that show how local populations have always been in relation to the wildlife around, explore that deeply as well as the colonial hx. Part of this is there is SOOOO much money flowing towards conservation... we could think about phot exhibits, podcasts, etc. When i was at ventures we did a whole article on drone policing against poachers but looking also at the complexity of who gets criminalized for harming wildlife and why...

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The Benjamin Mkapa African Wildlife Photography Awards exhibition launched with the announcement of the Grand Prize Winner and 16 category awardees. The global competition received close to 9,000 entries from 50 countries worldwide, including 10 countries in Africa
NAIROBI, KENYA (October 28, 2021) - African Wildlife Foundation (AWF) launched its 60th year anniversary this evening at a colorful reception and awards ceremony celebrating AWF's decades of conservation work on the continent as well as the winners of the inaugural Benjamin Mkapa African Wildlife Photography Awards, named in honor of the late former President of Tanzania.

Sixteen winning photographers from across the world attended the ceremony at the Nairobi National Museum. They received honorary certificates and awards for their photographs and videos in the global competition that received almost 9,000 entries from 50 countries worldwide, including 10 countries in Africa.

The Grand Prize winner, Riccardo Marchegiani, from Italy received a cash prize of US$ 5,000 (KES 555,476) and a large Shona elephant sculpture for his photo "Gelada and Baby" shot in the Simien Mountains National Park, Ethiopia. In addition, Marchegiani will be featured with an interview and portfolio in Nature's Best Photography magazine, as well as a feature in a special edition devoted to the Benjamin Mkapa African Wildlife Photography Awards.

Speaking as he received his award, Marchegiani said, "It gives me great pleasure to accept this award that is a true testament of the hard work and dedication put throughout the years. I believe that the art form of photography expresses my vision and sensitivity to the beauty of nature. My objective is to raise awareness and encourage conservation in a more sustainable lifestyle."

Other category winners each received prize money of US$ 1,000 (KES 111,095) and a Shona elephant sculpture. They will also be featured in the Nature's Best Photography special edition. The categories and category winners include:

Speaking at the celebration, AWF CEO Kaddu Sebunya said, "Within the context of a rapidly changing Africa, and armed with 60 years of experience, AWF has renewed its vision, and crafted strategic approaches to become a truly global African conservation organization. Through the Benjamin Mkapa African Wildlife Photography Awards, AWF is committed to finding, helping, and amplifying the authentic African voices advocating against the destruction of Africa's natural wildlife heritage. We are dedicated to defining and refining Africa's agendas for conservation and development, and to represent these voices - trumpet these voices loudly - around the world."

The inaugural photography competition was launched earlier this year to honor the former Tanzanian President, H.E. the late Benjamin Mkapa as an iconic conservation leader and one of AWF's longest-serving board members. In a bid to engage new audiences in documenting wildlife and wild lands conservation in modern Africa, the primary goal of the Benjamin Mkapa African Wildlife Photography Awards is to engage and involve photographers from Africa and around the world at all proficiency levels to share stories from the field that inspire and encourage new advocates for conservation.

The awards ceremony Guest of Honor, Kenya's Cabinet Secretary of Wildlife and Tourism, Hon. Najib Balala remarked: "With initiatives such as the Benjamin Mkapa African Wildlife Photography Awards, organizations such as AWF and Nature's Best Photography are actively encouraging both international and domestic tourists to visit these unique landscapes and tell authentic stories that emphasize the magic behind Africa's rich biodiversity hotspots and its people.

The growing need to hear more African voices from all disciplines speak on behalf of wildlife and wild lands at the global stage has been identified, and I am encouraged to see multiple young champions for conservation emerge from within. These young voices are actively coming up with practical solutions that befit the technology advancements, and we must not sideline them at all."

This collection of 79 winning images will be on display at the Nairobi National Museum through mid-January 2022 in a bid to capitalize and engage Kenyan audiences and visitors from around the world. The collection will also be published in a special edition of Nature's Best Photography magazine and will be featured in a year-long traveling exhibition through Africa, North America, Asia, and Europe as AWF celebrates 60 years of visionary conservation leadership.

AWF Country Director, Kenya, Nancy Githaiga said, "Our 60 years in conservation have shown us just what success can look like. We have seen the continent weather the worst poaching crisis of our lifetime and come out on the other side bruised but still fighting. Conservation interventions have brought back key wildlife species from the brink of extinction, including the black rhino and the elephant, and helped to raise awareness for struggling species such as the giraffe which is often overlooked but has been disappearing before our eyes.

We look forward to achieving more prosperity through strategic partnerships with the government and other stakeholders to further support our new 10-year strategy."

Through this annual competition, AWF is committed to building the participation of African photographers through targeted promotion and capacity building - an important component of our African Conservation Voices initiative.

About African Wildlife Foundation

The African Wildlife Foundation is the primary advocate for the protection of wildlife and wild lands as an essential part of a modern and prosperous Africa. Founded in 1961 to focus on Africa's conservation needs, we articulate a uniquely African vision, bridge science and public policy, and demonstrate the benefits of conservation to ensure the survival of the continent's wildlife and wild lands.
AWF MEDIA CONTACTS: For interviews and media inquiries contact Wambui Odhiambo of AWF in Nairobi, Kenya at wodhiambo@awf.org or +254 728 886987 or Patrick Mitchell of AWF in Washington, D.C. at pmitchell@awf.org or 202-991-7508.

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AWF Celebrates 60 Years of Conservation Leadership with African Wildlife Photography Exhibition

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The Benjamin Mkapa African Wildlife Photography Awards exhibition launched with the announcement of the Grand Prize Winner and 16 category awardees.

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Bamako is a 2006 film directed by Abderrahmane Sissako, first released at the 2006 Cannes Film Festival on 21 May and in Manhattan by New Yorker Films on 14 February 2007.

The film depicts a trial taking place in Bamako, the capital of Mali, amid the daily life that is going on in the city. In the midst of that trial, two sides argue whether the World Bank and International Monetary Fund are guided by special interest of developed nations, or whether it is corruption and the individual nations' mismanagement, that is guilty of the current financial state of many poverty-stricken African countries as well as the rest of the poor undeveloped world. The film even touches on European colonization and discusses how it plays a role in shaping African societies and their resulting poverty and issues.

Danny Glover, one of the film's executive producers, also guest-stars as an actor in a Western film (called Death in Timbuktu) that some children are watching on the television in one scene.

Lawyers William Bourdon and Aïssata Tall Sall portrayed themselves in the film.

Actress Aïssa Maïga was nominated for the César Award for Most Promising Actress in 2007.

Bamako was the recipient of the first Film Award of the Council of Europe (FACE) given at the Istanbul International Film Festival in April 2007.

Bamako won the award for Best French-Language Film/Meilleur Film Francophone at the Prix Lumière

Bamako was also the winner of the Audience Award at the Paris Cinema in 2006.

Salon critic Andrew O'Hehir selected the film when asked to present one film within the Maryland Film Festival in 2008.

The film received a Metacritic score of 81 out of 100 which meant the film was met with critical acclaim. The film has a score of 85% with a certified "Fresh" rating on Rotten Tomatoes based on 54 reviews with the following consensus: "A courtroom drama and a portrait of everyday Mali life, Bamako approaches both subjects with equal skill and success." The film received much praise for its direction by Sissako.

Entertainment Weekly gave Bamako an A, calling it "a passionate, challenging drama from the fine Mauritanian writer-director Abderrahmane Sissako" and that it brings "moments of brimming, illogical, intimate neighborly dailiness the filmmaker also captures with warmth and infectious high spirits".

A. O. Scott from The New York Times said that "he has never seen a film quite like Bamako'' and praised the director's vision as a "seething, complicated and a disarmingly beautiful investigation of Africa's social, economic and human crises" and goes on to describe the film as "something different, a work of cool intelligence and profound anger, a long, dense, argument that is also a haunting visual poem".

Michael Phillips of the Chicago Tribune in his review gave the film 3 1/2 stars out of 4 and said "Sissako has an unusual camera eye, patient and alert to the ebb and flow of both the courtroom sequences and the outside scenes. The music is wonderful as well."

Wesley Morris from the Boston Globe in an overwhelmingly positive review said "As demonstrated in his previous film, a plangent snapshot of subsistence called "Waiting for Happiness," Sissako is a poet, and the filmmaking in this new picture is stuff of a deserving laureate."

The review gave the film 4 out of 5 stars and said that the film is "Far from an easy watch, either in terms of its hard-hitting content, seemingly haphazard structuring or its dense symbolism. But this makes sense of the political intricacies by balancing the rhetoric and statistics with everyday occurrences that give the iniquities and inadequacies a human face."

The review in The Washington Post said "No one can deny the powerful reality that weaves its way through Bamako."

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Bamako is a 2006 film directed by Abderrahmane Sissako, first released at the 2006 Cannes Film Festival on 21 May and in Manhattan by New Yorker Films on 14 February 2007. The film depicts a trial taking place in Bamako, the capital of Mali, amid the daily life that is going on in the city.

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Fascinating exhibition about anti colonial poetry collective. Looped in Taiwanese diaspora, people who studied in europe, archives, language, political history

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Really interesting mixed-media work + conversation with the artist

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The exhibition project Todd Gray: Euclidean Gris Gris activates the Pomona College Museum of Art's largest gallery throughout the 2019/2020 academic year and consists of a site-specific wall drawing and an evolving selection of photographs from Gray's ongoing artistic examination of the legacies of colonialism in Africa and Europe. A series of monthly programs, Longing on a Large Scale, and a publication accompany the exhibition.

Los Angeles-based artist Gray is known primarily for photography, performance, and sculptural works that explore contemporary and historical examinations of power in relationship to the African Diaspora. His work consists primarily of photographs from his own archive juxtaposed with one another, then mounted within found frames as a structuring device. In recent installations, he pairs images of Michael Jackson (Gray was Jackson's photographer in the 1980s) with photographs of rural scenes in Ghana (where Gray maintains a studio) and formal gardens in Europe.

In his work, Gray explores the historical constructs of the "logical" and geometrical gardens of Europe-an aesthetic manifestation of the idea of disembodied reason-with the "sublime" nature found in African landscapes. The exhibition title Euclidean Gris Gris combines contrasting language to frame the work within a broader cultural critique. Gray's project pushes beyond these binaries, referencing the Euclidean-Western influences-and Gris Gris-African animism and poetics.

Serving as a year-long, artist residency, Gray's project expands the space of his exhibition to introduce other artistic and creative voices. Inspired by Gray's work, visiting professor in art history of the African Diaspora at Cooper Union, New York, Dr. Nana Adusei-Poku is curating the "Longing on a Large Scale" programming. The nine monthly events originate from Gray's techniques of deconstructing images, rupturing the body/mind and nature/culture binaries, and examining the intimacies of Black sociality. Gray's work provides the catalyst for the program series by exploring the web of connections between his project and contemporary creative, social, and artistic issues, such as the possibilities of Black Liberation, the relationship between institutional politics and systemic exclusion, the tension between performativity and performance in relationship to race and gender. Longing on a Large Scale invites artists, poets, activists, and thinkers to unpack colonial paradigms and explore strategies of resistance.

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The exhibition project Todd Gray: Euclidean Gris Gris activates the Pomona College Museum of Art's largest gallery throughout the 2019/2020 academic year and consists of a site-specific wall drawing and an evolving selection of photographs from Gray's ongoing artistic examination of the legacies of colonialism in Africa and Europe.

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Racial Justice  talk with Darren Walker + Sherrilyn Ifill 

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Racial Justice  talk with Darren Walker + Sherrilyn Ifill 

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ICTJ and the Center for Human Rights and Global Justice at NYU School of Law are pleased to announce that that Darren Walker, President of the Ford Foundation, and Sherrilyn Ifill, President and Director-Counsel of the NAACP Legal Defense Fund, will join ICTJ President David Tolbert in conversation for the ninth Emilio Mignone Lecture on Transitional Justice.

The November 9th lecture, titled "Reckoning with Racial Injustice in the United States," aims to gather thinkers and actors in the continuing movement for racial justice in the United States. This includes human rights activists, policy makers, scholars, and practitioners engaged in confronting the history of racism in this country and ending its current manifestations.

Walker has been an outspoken advocate for the need to face the unbroken legacy of slavery, and under his leadership the Ford Foundation has been a key contributor to public discussions of race in the United States. In his recent open letter " A Call for Moral Courage in America," he urged public interrogation of the history of racial injustice. "America made no sustained effort toward what some today might call transitional justice," Walker said. "The nation paid no reparations to freed slaves; the '40 acres and a mule' promised to most freed blacks never materialized. Our country never convened a Truth and Reconciliation Commission nor engaged in an officially sanctioned public interrogation of our shared history, North and South."

Darren Walker and Sherrilyn Ifill

Likewise, Ifill works at the forefront of public dialogue on race: she has written extensively about the silence surrounding the country's history of racism and about the struggle for structural change in the criminal justice system and beyond. "It's because the wall of silence fell and has been maintained so perfectly that we have to have these conversations. This is not something that we've talked out and now we're revisiting it," Ifill said when promoting her book, On the Courthouse Lawn: Confronting the Legacy of Lynching in the Twenty First Century. "We've never been able to confront in any comprehensive way the history of lynching in this country and the widespread complicity in that history of lynching."

ICTJ President David Tolbert will moderate the discussion. Tolbert has worked in the former Yugoslavia, Palestine, the Middle East, eastern Europe, Cambodia, Lebanon and a host of other countries, but his roots lie in the Carolinas, where he grew up in the segregated South and has advocated for the United States to confront its own troubled past.

The event will take place one year to the day the United States first woke up to President-elect Trump. In the time since President Trump has been in office, revisionist narratives have found stronger footing in the country, fomenting deeper divisions and claiming yet more lives. Confronting these false narratives and reckoning with the United States' racist past is essential to building a just society. . This event will ask how concepts and strategies of transitional justice might contribute to this process and advance racial justice in the United States.

The conversation will be held on Thursday, November 9th from 7:00- 8:30 pm at NYU School of Law's Lipton Hall, 110 West Third Street New York, NY 10012. A reception will follow.

To reserve seats, please RSVP below.

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Darren Walker and Sherrilyn Ifill to talk Racial Justice in the United States at This Year's Emilio Mignone Lecture on Transitional Justice

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ICTJ and the Center for Human Rights and Global Justice at NYU School of Law are pleased to announce that that Darren Walker, President of the Ford Foundation, and Sherrilyn Ifill, President and Director-Counsel of the NAACP Legal Defense Fund, will join ICTJ President David Tolbert in conversation for the ninth Emilio Mignone Lecture on Transitional Justice.

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TAP Magazine is a digital and print publication founded out of a need to counter the one-dimensional way that Africa and Africans are often portrayed in global media.

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Before the Vows film viewing at Maysels + talk with the Director 

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Before the Vows film viewing at Maysels + talk with the Director 

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100+ people, small, good discourse on marriage and relationship

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Nicole Amarteifio, Ghana, 2017, 70 min
Meet Afua a modern day Ghanaian woman with plans to marry her fiancé Nii. The only problem is, Afua is not sure she believes in marriage. Her divorced parents, an unbearable stepmother, and Nii's bickering married parents, cause Afua to doubt the very thing planned for just a few weeks away: her wedding.

After watching Afua prance around town with her fiancé - selecting a cake, finalizing decorations and altering her dress - we then see her start questioning what makes a marriage truly work. And with nostalgic feelings for a former crush, Afua devises an unconventional plan to ensure that her and Nii embark on a long and happy marriage. However, the very plan devised to help them, is the same plan that may harm them - even before their intended "I do's."
Q&A with Nicole Amarteifio.

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Before the Vows (U.S. Premiere) - maysles documentary center

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Nicole Amarteifio, Ghana, 2017, 70 min Meet Afua a modern day Ghanaian woman with plans to marry her fiancé Nii. The only problem is, Afua is not sure she believes in marriage.

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NYAFF: The Revolution Won’t Be Televised

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NYAFF: The Revolution Won’t Be Televised

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Discussion of movements by young people in Africa, focused on Y'en a Marre

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NYAFF: The Revolution Won’t Be Televised — maysles documentary center

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The 24th New York African Film Festival Presents:

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Really enjoying this TV show -- but made me think a lot about why we don't see anything about African spies -- Africa is always acted upon by external intelligence agencies -- there is this one exciting story of how ghanian intelligence outwitted the CIA during the rule of Pres. Jerry Rawlings -- are there more stories like this?

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This quick-witted spy drama follows a dysfunctional team of MI5 agents-and their obnoxious boss, the notorious Jackson Lamb-as they navigate the espio...

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Storytelling workshop studio in Denver Art Museum -- both a venue for an artist to perform but then followed by tools and space to make your own story.

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Storytelling workshop studio in Denver Art Museum -- both a venue for an artist to perform but then followed by tools and space to make your own story.

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Greater New York 2021 exhibition at MoMA PS1 

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Greater New York 2021 exhibition at MoMA PS1 

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Exhibition surveying artists working in NYC and considering themes of belonging and estrangement. Some amazing works by artists of African descent were included. The work pictured is by Ahmed Morsi, b. 1930 in Egypt, moved to NYC in 1977.

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Fascinating project by Iranian American artist on the concept of Djinns, brings in speculative practice, archival texts, linguistic justice, queer theory, and educational aspects

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"We need to engage with dystopian fiction that extrapolates from the white, able-bodied, colonial, heteropatriarchy that structures our world".

- Out of the Woods Collective, 2017

is a long-term research based project which started in October 2016 as part of my residency at Eyebeam in NYC. In She Who Sees The Unknown I use 3D modeling, 3D scanning, 3D printing, and storytelling to re-create monstrous female/queer figures of Middle Eastern origin, using the traditions and myths associated with them to explore the catastrophes of colonialism, patriarchism and environmental degradation in relationship to the Middle East.

One of the main terms that I have coined and developed since 2016 and in relationship to this body of work is Re-Figuring, as a form of feminist and activist practice. Re-Figuring for me is about activation and preservation. It's an act of going back and retrieving the past. How can we re-imagine another kind of present and future through re-imagining the past-especially the kind of past that is forgotten or misrepresented?

The stories of these jinn portray monstrous female figures who are powerful, but over time their power is either increasingly presented in a negative light, or they are not taken as seriously as a lot of male superhero-type mythical stories that are more common both in the Middle East and the West. Through embracing the "monstrosity" of these figures, I hope to give birth to new beings and becomings that are able to challenge and change the power structures that exist in our political and social realities.

Re-Figuring therefore, is a ficto-feminist and activist practice that reflects on the effects of historical and digital colonialism and other forms of oppression and catastrophe. In this sense, She Who Sees The Unknown is a practice of Re-Figuring forgotten figures and re-situating their histories.

In Islamic culture and teaching jinn are known as supernatural creatures. According to the Quran, jinn are shape shifters made of smokeless fire; occupying a parallel world to that of mankind. Together, jinn, humans and angels compose the three sentient creations of Allah. Unlike angels who have no ability to obey or disobey, jinn have the power of choice and will. In Iranian traditions, jinn are fearsome and honored.

My upbringing in Iran was full of ancient mythical narratives, all involving extraordinary and supernatural beings. My bedtime stories of childhood, told often by my grandmother, were about her memories of encounters with jinn, usually in the public bathouse of her village. When jinn possess humans, they guarantee an utter openness. A new kind of entrance, portal, and arrival to the outside. For me, this is what makes them attractive candidates for an act of Re-Figuring.

When thinking about technology, potential futures and new worlds, it is perhaps time to think outside of Donna Haraway's concept of the "cyborg" in order to stretch our imagination to a new set of figures that do not come from white/western knowledge structures. If Haraway claimed to be "a cyborg rather than a motherly/earthy goddess", I claim to be a jinn rather than a cyborg.

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She Who Sees The Unknown by Morehshin Allahyari

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She Who Sees The Unknown is a long-term research based project which started in October 2016 as part of Morehshin Allahyari's residency at Eyebeam in NYC.

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The work of the Ivorian artist Frédéric Bruly Bouabré had a single objective: to record and transmit information about the known universe. Devoting his life to a quest for knowledge, Bouabré captured and codified subjects from a range of sources, including cultural traditions, folklore, religious and spiritual belief systems, philosophy, and popular culture. "I do not work from my imagination," he once said. "I observe, and what I see delights me."

The first survey of Bouabré's work, and the first exhibition at MoMA devoted to an Ivorian artist, Frédéric Bruly Bouabré: World Unbound spans the artist's immense production from the 1970s until his death in 2014. A highlight of the exhibition is the Alphabet Bété -Bouabré's invention of the first writing system for the Bété people, an ethnic group in present-day Côte d'Ivoire to which the artist belonged. Also on view are hundreds of postcard-size illustrations that he drew on cardboard packages of hair products he salvaged from his neighborhood in Abidjan, Côte d'Ivoire's economic capital. Tracing the arc of Bouabré's inventiveness-from the creation of his first writings and drawings focused on the the culture of the Bété, to scenes from everyday life exploring broader themes of democracy, women's rights, and current affairs-the exhibition celebrates his commitment to collecting, preserving, and sharing knowledge as a way of understanding the world around us.

Organized by Ugochukwu-Smooth C. Nzewi, The Steven and Lisa Tananbaum Curator, with Erica DiBenedetto, Curatorial Assistant, and with support from Damasia Lacroze, Department Assistant, Department of Painting and Sculpture.

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Frédéric Bruly Bouabré: World Unbound | MoMA

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Exhibition. Through Aug 13. The work of the Ivorian artist Frédéric Bruly Bouabré had a single objective: to record and transmit information about the known universe. Devoting his life to a quest for knowledge, Bouabré captured and codified subjects from a range of sources, including cultural traditions, folklore, religious and spiritual belief systems, philosophy, and popular culture.

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By The Wedge Collection. Preface by Teju Cole. Introduction by Mark Sealy. Interviewer Liz Ikiriko.

Dr. Kenneth Montague started the Wedge Collection in 1997 to acquire and exhibit art that explores Black identity. In addition to the Wedge Collection, Montague founded Wedge Curatorial Projects, a nonprofit arts organization that helps to support emerging Black artists. A Toronto-based art collector, Montague has been a member of the Art Gallery of Ontario's board of trustees since 2015. He has served on the African acquisitions committee at Tate Modern, London, and is an advisor to the Department of Arts of Global Africa and the Diaspora at the Art Gallery of Ontario.
Teju Cole is a photographer, novelist, essayist, and curator. His photobook Blind Spot (2017) was shortlisted for the 2017 Paris Photo-Aperture Foundation Photo-Book Awards. His other books include the novel Open City (2011), winner of the 2012 PEN/Hemingway Award, and the photobooks Fernweh (2020) and Golden Apple of the Sun (2021). Cole's photography has been the subject of numerous solo exhibitions. He has been a visiting critic at the Yale School of Art, New Haven, Connecticut; and he was photography critic for the New York Times Magazine until 2019. He is currently a professor in the English department at Harvard University, Cambridge, Massachusetts.
Dr. Mark Sealy is interested in the relationships between photography and social change, identity politics, race, and human rights. He has been director of Autograph ABP (Association of Black Photographers), UK, since 1991, and has produced numerous artist publications, curated exhibitions, and commissioned photographers and filmmakers worldwide. He curated the exhibition From Here to Eternity: Sunil Gupta. A Retrospective at the Photographers' Gallery, London (2020), and Ryerson Image Centre, Toronto (2022); and he is author of the book Decolonising the Camera: Photography in Racial Time (2019). Sealy holds a PhD from Durham University, England, and currently serves as Principal Research Fellow Decolonising Photography at University of the Arts London.
Liz Ikiriko is a Tkaronto/Toronto-based, Nigerian Canadian artist and curator. She is curator of collections and contemporary engagement at the Art Gallery of York University, Toronto, and cocurator of the 13th Rencontres de Bamako/African Biennale of Photography, Mali (2022). Her most recent curatorial projects include Is Love a Synonym for Abolition? at Gallery 44, Toronto (2021); ___a lineage of transgression___ at ArtSpace Peterborough, Canada (2020); and The Break, The Wake, The Hold, The Breath at Circuit Gallery, Prefix Institute of Contemporary Art, Toronto (2019). Her writing has appeared in Public Journal, MICE Magazine, C Magazine, BlackFlash Magazine, and Akimbo. Ikiriko holds an MFA in criticism and curatorial practice from Ontario College of Art and Design University, Toronto.

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As We Rise: Photography from the Black Atlantic | Aperture

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As We Rise presents an exciting compilation of photographs from African diasporic culture. With over one hundred works by Black artists from Canada, the Caribbean, Great Britain, the United States, South America, as well as throughout the African continent, this volume provides a timely exploration of Black identity on both sides of the Atlantic.

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Community based exhibition, really engaging from the moment you walked in the room and there were interactive questions where you could write your reactions. Live performance as well.

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Sydnie L. Mosley Dances (SLMDances) is a New York City-based dance-theater collective that works in communities to organize for gender and racial justice through experiential dance performance. SLMDances' works engage audiences in the artistic process; their dances provoke a visceral reaction to the physicality on stage and incite conversation toward community action.

The works reflect real-life experiences central to the collective's identities and pull focus to the stories of women and Black folks. The movement vocabulary fluidly integrates modern dance techniques and movement of the African Diaspora, while dancers frequently use their voice with spoken text and audible breath. Through dimensional compositions, specific, textured movement, humor, and character development choreographed works appeal to a sense of humanity.

The collective situates itself amongst the Harlem arts community by creating and presenting dance uptown; partnering with other Harlem artists and businesses, and focusing community-based initiatives within Harlem. SLMDances travels for projects both domestically and internationally as relevant to the mission and interests of the collective.

As a SKY Lab resident, SLMDances will work in collaboration with music producer Ebonie Smith, visual artist Shani Peters, and quilter Dr. Kim F. Hall to create an on-site multi-disciplinary exhibition entitled: What does PURPLE sound like?In partnership with Changing the Narrative , PURPLE's community engagements facilitate the collection of oral histories and making those stories visible.

PURPLE is a multi-project universe that illuminates the power of "deep sisterhood for social change" through storytelling and movement. This sisterhood is how we thrive: we invest in one another, we honor and celebrate each other's brilliance, and we hold ourselves accountable to experiencing radical joy. What does PURPLE sound like? captures the radical joy in a place - public housing communities in New York City - via the stories of its decades-long residents to uncover strategies of resilience, amplify cultural traditions, and shift public discourse and policy.

- SLMDances Follow SLMDances online:

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Sydnie L. Mosley Dances (SLMDances) is a New York City-based dance-theater collective that works in communities to organize for gender and racial justice through experiential dance performance. SLMDances' works engage audiences in the artistic process; our dances provoke a visceral reaction to the p

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Really fascinating and beautiful way of engaging with contemporary voices around the 500 year anniversary of the fall of the aztec empire. Bringing in indiginous and contemporary political issues around both art and artifact objects. Rooted in LA county as well

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showcases the creative resistance of Indigenous knowledge-keepers following the Spanish invasion of Mexico. In this podcast, LACMA curators talk with contemporary artists, activists, and scholars as they contemplate their legacies in today's Los Angeles.

This podcast and LACMA's Art of the Ancient Americas department's Ancestral Voices initiative are possible thanks to the generous support of Dan Greenberg and Susan Steinhauser.

Participants (alphabetical): Mariana Castillo Deball, artist Alyce de Carteret, Postdoctoral Curatorial Fellow in Art of the Ancient Americas, LACMA Alberto Diaz-Cayeros, Director, Center for Latin American Studies, Stanford University Yan Garcia, Nahuatl instructor Diana Magaloni, Deputy Director, Program Director and Dr. Virginia Fields Curator of the Art of the Ancient Americas, and Sazanne D. Booth and David G. Booth Conservation Center Director, LACMA Janet Martinez, Co-Founder and Vice Executive Director, CIELO Sandy Rodriguez, artist Odilia Romero, Co-Founder and Executive Director, CIELO Mariah Tso, artist and GIS Specialist, Ralph J. Bunche Center for African American Studies, UCLA

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Mixpantli: Space, Time, and the Indigenous Origins of Mexico

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LACMA marks the 500th anniversary of the fall of the Aztec capital Tenochtitlan (modern-day Mexico City) with Mixpantli: Space, Time, and the Indigenous Origins of Mexico. This exhibition subverts the traditional narrative of conquest by centering the creative resilience of Indigenous artists, mapmakers, and storytellers who forged new futures and made their world anew through artistic practice.

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Looks at the history, geography, and culture of Africa, assesses native, Arab, and Western influences, and discusses sports, religion, government, and social issues in Africa

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Really engaging multi disciplinary exhibition that included artists, activists and writers specifically in the orientation of "middle east" as a geopolitical identity

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The New Museum presents “Here and Elsewhere,” a major exhibition of contemporary art from and about the Arab world.

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Really interested in the idea of how we could provide interactive experiences -- just thinking what could a TAC escape room look like? What's the puzzle that we want to solve, what riddles/ scenarios could we draw from African experiecnes

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Escape Room NYC | #1 Escape Room In NYC | Escape Room Madness

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Escape Room Madness Offers The Most Fun Escape Room Experience In NYC. Challenge Yourself And Book Your Escape Room Adventure. Can You Escape The Room?! Book Now And Find Out

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"A noção de incerteza faz parte do repertório de muitas disciplinas - da matemática à astronomia, passando pela lingüística, biologia, sociologia, antropologia, história ou educação. Diferentemente do que acontece em outros campos, no entanto, a incerteza na arte aponta para a desordem, levando em conta a ambiguidade e a contradição. A arte se alimenta da incerteza, da chance, do improviso, da especulação e ao mesmo tempo tenta contar o incontável ou mensurar o imensurável. Ela dá espaço para o erro, para a dúvida e até para os fantasmas e receios mais profundos de cada um de nós, mas sem manipulá-los. Não seria o caso, então, de fazer com que os vários modos de pensar e de fazer da arte pudessem ser aplicados a outros campos da vida pública?".

VOLZ, Jochen. "Incerteza Viva é o título da 32ª Bienal". Portal Bienal, 08 dez. 2015. Disponível no link

"Mesmo ao abordar questões dramáticas como o racismo, catástrofes ambientais ou genocídio indígena, esta é uma Bienal silenciosa, que se percebe em atitudes discretas. (...) Quando pessoas celebram publicamente que uma jovem que perde um olho por violência policial deveria perder o outro, obras como "O Peixe" ganham poder de manifesto: não há vítima que não mereça solidariedade. A necessidade do respeito se amplia na obra "Espelho de Som", de Eduardo Navarro, composta por um instrumento que sai do pavilhão para chegar até a copa de uma palmeira, apontando para a necessidade de escuta da natureza. Assim, "Incerteza viva" constitui-se como uma mostra que evita o espetáculo ao tratar da barbárie"

CYPRIANO, Fabio. "Bienal de São Paulo aborda barbárie com obras sutis". Folha de S. Paulo, Ilustrada, 07 set. 2016

"As Bienais agora recebem a tarefa impossível de fazer sentido não só na arte contemporânea, mas também na história contemporânea, na política, na filosofia, na economia, no meio ambiente e além - permanecendo sensível à cultura local e consciente dos desenvolvimentos globais. Com alta ordem, 'Incerteza Viva' faz um ato admirável de equilíbrio, defendendo a vitalidade do conhecimento e experiência indígena, e da sabedoria extraída das pessoas que habitaram este hemisfério muito antes dos europeus chegarem. Dado o atual clima de incerteza no Brasil, isso é mais do que um pouco de bom senso".

SCHWENDENEROCT, Martha. "Uncertainty in Brazil, Vitality in Its Art". The New York Times, Art & Design, Critic's Notebook, 11 out. 2016. Disponível no link

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32ª Bienal de São Paulo - Bienal de São Paulo

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"A noção de incerteza faz parte do repertório de muitas disciplinas - da matemática à astronomia, passando pela lingüística, biologia, sociologia, antropologia, história ou educação. Diferentemente do que acontece em outros campos, no entanto, a incerteza na arte aponta para a desordem, levando em conta a ambiguidade e a contradição.

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Google Arts & Culture features content from over 2000 leading museums and archives who have partnered with the Google Cultural Institute to bring the world’s treasures online.