Latitudes Art Fair has joined forces with Anna Awards for the second year of a contemporary art prize to discover and recognise African women-identifying artists. We take a look at who is on the shortlist for 2023.

This year, the Anna Awards extends its reach beyond South Africa to women in the rest of the African continent. Lucy MacGarry, co-founder of Latitudes, the fastest-growing online platform dedicated to art from Africa, explains that the ANNA Award showcases women artists that show extraordinary originality, imagination and dedication in their creative careers. 

Nina Carew, head of the ANNA Award at Latitudes, states that ANNA and Latitudes continue to work hard to shine a light on women-identifying talent from Africa while being mindful of inclusivity and connection. “This year’s ANNA Award Top 12 offers fresh voices that have already begun to make their mark on the continent and beyond. While the cohort offers a range of interdisciplinary practices, mediums and conceptual frameworks engaged with the arts landscape on the continent at present, there is a subtle thread that weaves through and connects them all.”

708 applicants were received from 28 African countries, and the 12 finalists have been selected and reviewed by the ANNA selection committee. 

The Top twelve finalists are Nada Baraka (Egypt), Bulumko Mbete (South Africa), Buqaqawuli Nobakada (South Africa), Azuka Muoh (Nigeria), Charity Vilakazi (South Africa), Alexandra-Naledi Holtman (South Africa), Nindya Bucktowar (Mauritius), Sethembile Msezane (South Africa), Lebogang Mabusela (South Africa), Amanda Mushate (Zimbabwe), Mikhailia Petersen (South Africa) and Cazlynne Peffer (South Africa).

The winner will receive an R100,000 cash prize from ANNA, a profile on Latitudes Online and a year’s supply of ANNA products. The twelve finalists will be presented to the Latitudes audience, who will vote for an Audience Award winner and the winner will be announced on Women’s Day, 9 August 2023. 

For more information, visit latitudes.online.

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Luxury lodge group Singita is championing African Art in the name of conservation.

It is possibly the only time a lodge guest will be thrilled not to see a leopard, a lion or a buffalo on a short safari break. In fairness, there will be plenty of Big Five-spotting opportunities on twice-daily game drives – but in the newly opened art gallery at Singita’s Kruger National Park concession, there’s not a beast to be seen.

The lack of wildlife at the gallery is a bit of a relief, in more ways than one. After all, who wants to look at another procession of dubious animal artworks aimed squarely at a largely overseas clientele? Instead, Singita’s newest gallery – the second, after a similar space opened at the group’s Sabi Sand lodges in 2021 – is focused on showcasing contemporary African art, introducing continental creativity to a captive audience of well- travelled guests.

“At the heart of the project is a desire to find other ways to support Singita’s conservation efforts – but equally, we want to be conservators and custodians of African culture,” explains Kimberley Cunningham, curator of the two gallery spaces. “So many of the guests who come through Singita simply don’t get an opportunity to visit art galleries in Johannesburg or Cape Town.”

Problem solved, then, because Singita’s lodge guests can now spend the quiet hours between game drives exploring the two galleries, each of which has its own character. At Lebombo, a striking black cube of polished concrete dovetails neatly with the design- driven aesthetic of the lodge. In the Sabi Sand space, glass walls and natural light speak to an immersive wilderness experience. And while the Sabi Sand gallery is a place of slow evolution, with individual pieces flowing in and out of the collection, Lebombo is driven by a more curatorial approach.

“The art is completely reflective of the space,” explains Kimberley. “The two galleries are meant to work together, rather than compete, which is why you’ll see very different works in each of them. For example, many guests are attracted to Singita Lebombo because of the architecture, and so they’re likely to engage with more edgy pieces – works by artists who are pushing the boundaries of contemporary African art.”

The works are drawn from both private collections and commercial galleries, including Whatiftheworld in South Africa, and First Floor Gallery in Zimbabwe.

“It’s about a spirit of collaboration in the most genuine sense of the word,” adds Kimberley. “Because we’re working with different galleries as well as independent artists together in one show, we create a really unique experience for guests. Currently, we are focusing on southern Africa, but in time we plan for the project to be a celebration of art from across the continent.”

A schedule of residencies, for artists to create signature works on site, is also planned. “We want to make meaningful connections between guests and the artists by sharing their stories and philosophies directly,” says Singita chief operating officer Jo Bailes. “We want the spaces to be a celebration of the magic of Africa.”

The galleries are also helping to fund conservation in the region. Singita Sabi Sand has already concluded a partnership with the master sculptors of the Ardmore Gallery in KwaZulu-Natal, who crafted striking animal sculptures during a residency. When sold, the proceeds will be donated in full to the Singita Lowveld Trust, and ring-fenced for rhino conservation. In addition, a portion of the proceeds from all art sold through the Singita galleries will be donated to the trust, and set aside to support local enterprise and job creation.

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Each of the 60 artists, as curated by Design Indaba’s founder Ravi Naidoo, were invited to contribute a work that captures the colour and character of their home country. The theme pays homage to the history of powerful stories told by Africans through the medium of colour: A kaleidoscopic navigation tool is used to explore art; each colour telling a unique story, expressing a multilayered tapestry of emotion and experience.

The multidisciplinary mix of artists includes Algerian photographer Ramzy Bensaadi, fashion designer Bisrat Negassi from Eritrea, filmmaker Archange Kiyindou “Yamakasi” from the Republic of Congo and visual artist Ngadi Smart from Sierra Leone.

The initiative also includes the launch of over 4000 images and videos and 20 carefully curated exhibits from Design Indaba’s extensive archive. Award-winning initiatives like Sheltersuit, Arch for Arch and Emerging Creatives are extensively profiled online for the first time.

Not to be missed are new works by some of the most important creatives continent, including Fozia Ismail, who was a featured creative on Serpentine Gallery’s Creative Exchange programme; Mayada Adil El Sayed, who represented Sudanese women at the Generation Equality Forum; and Lady Skollie, the winner of the 10th FNB Art Prize.

Explore “Colours of Africa” here.

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The Olympics of the art world is back: we take a look at Sub-Saharan Africa’s showing at the 59th Venice Biennale.

After a two-year hiatus, the Venice Biennale has returned with a bang. The Biennale, which runs until late November, is nicknamed the “Olympics of art” because the work on show is displayed under national banners, and 80 countries have pavilions in three main areas. There are about 30 historic permanent pavilions spread across the large Giardini park, with more in the Arsenale, a historical complex of former military shipyards and arsenals (where the South African pavilion is located), and still others in the city centre. An international exhibition, woven throughout the venues, is curated by a guest curator. In 2022, Italian Cecilia Alemani is in charge, and has included 213 artists from 58 countries.

The Venice Biennale isn’t commercial, so participants are free to explore issues without the need to sell anything. It’s more about ideas and concepts, cultural dialogue and public discourse. It also provides an opportunity to take the temperature of the global cultural zeitgeist unlike any other art event in the world.

There are several private exhibitions peripheral to the main event, often with large shows dedicated to particular artists. This year, Anish Kapoor seems to have soaked up a large part of the limelight, and Marlene Dumas – who might not have lived in South Africa for many years but is still considered a South African artist – has a big exhibition at the Palazzo Grassi.

What about us?

Several countries in sub- Saharan Africa are represented this year. The international exhibition also includes artists from 12 African countries, although some of those artists are residents of the US, the UK and Europe.

Although the late influential Nigerian curator Okwui Enwezor, who perhaps more than anyone repositioned art from Africa as central to the global conversation, was the main exhibition’s curator in 2015, a large part of the Biennale’s history has excluded African art. South Africa participated in the 1960s, but was ostracised for nearly three decades, and only returned in 1993. Representation of other African countries has been, at best, erratic.

It is undeniable that, this year, black artists (and women) have a stronger-than-ever presence at the show. British artist Sonia Boyce’s solo exhibit at the UK pavilion has been recognised with a Best National Participation award, while the US’s Simone Leigh, who scooped the Golden Lion for the Best Participant in the International Exhibition, draws heavily on African influences.

Here is our roundup of key sub-Saharan African pavilions, and some related events worth noting.

South Africa

The theme of the South African national exhibition, “Into the Light”, was designed to complement the theme of the international exhibition (“The Milk of Dreams”), which explores the possibilities of artistic expression in the realms of fantasy and imagination. The South African national exhibition has an introspective flavour, concentrating on the search for self-discovery and personal truth. It includes three artists: veteran photographer and film-maker Roger Ballen; Joburg-based Lebohang Kganye, whose practice involves photography, theatre, animation, cuttings and installations/sculpture; and Phumulani Ntuli, a multidisciplinary artist who describes his work as based around fictional geographies, simulation, archive and representation. The three are linked by their often-autobiographical approach and interest in locating their works in otherworldly realms.

Uganda

Uganda’s debut pavilion received one of two special mentions at the Golden Lion awards for Best National Participation. Titled “Radiance, They Dream in Time”, it includes works by Kampala-based Acaye Kerunen and Collin Sekajugo. Acaye’s process highlights the work of local and regional Ugandan craftswomen, while Collin’s work is a commentary on the influence of Western culture.

Ivory Coast

The theme of the Côte d’Ivoire pavilion, “The Dreams of a Story”, seeks to highlight a new Ivorian creative generation’s capacity to merge – through art – traditions and innovations, memories, and dreams of a destiny to be built in the contemporary art landscape. The artists on show are Frédéric Bruly Bouabré, Aboudia (Abdoulaye Diarrassouba), Armand Boua, Yeanzi (Saint-Etienne Yéanzi), Laetitia Ky and Aron Demetz.

Zimbabwe

Zimbabwe’s sixth appearance at the Biennale, titled “I Did Not Leave a Sign?”, includes works by Kresiah Mukwazhi, Wallen Mapondera, Terrence Musekiwa and Ronald Muchatuta. The exhibition explores alternative systems of knowledge, particularly with reference to Covid, and the inability of not just science and technology, but also religion, to offer answers in response to this moment in history. The art also delves into one of Zimbabwe’s most pressing issues: the effect of leaving one’s homeland and becoming part of the diaspora.

Cameroon

Inanotherfirst-timeparticipation,theCameroonianpavilionstoodapartforalsolaunchingnon-fungible tokens (NFTs) at the Biennale. The exhibition – “The Time of the Chimeras” – compares the work of four Cameroonian artists to that of four international artists, and aims to spark a dialogue around chimeras and possible utopias.

Ghana

The starting point of “Black Star – The Museum as Freedom” is the black star that’s synonymous with Ghana, its flag and even its football team. It’s also a symbol associated with Pan-Africanism and anti-colonialism in general – and for this show, it’s used as a hook to examine new constellations of freedom across time, technology and borders. The artists featured are Na Chainkua Reindorf, Afroscope (Nana Opoku) and Diego Araúja.

International Exhibition

This year’s international exhibition, “The Milk of Dreams”, is named after a book by surrealist artist Leonora Carrington. In it, curator Cecilia Alemani aims to address the following questions: how is the definition of a human changing? What constitutes life, and what differentiates plant and animal, human and non-human? What are our responsibilities towards the planet, other people and other life forms? And what would life look like without us? For the first time, the international exhibition is mostly made up of women and gender non-conforming artists. Among the 12 African artists taking part are South Africans Igshaan Adams and Bronwyn Katz, and Zimbabweans Portia Zvavahera and Kudzanai-Violet Hwami.

African Art in Venice Forum

The presence and participation of African art and artists at the Biennale is bolstered by the African Art in Venice Forum (AAVF) – a platform that promotes public appreciation and understanding of African art. The AAVF presents free talks and panel discussions.

Alastair Meredith, head of Strauss & Co’s Johannesburg art department (the sponsors of the AAVF), says it was gratifying to see how well-attended the events were. Despite the relatively small number of African pavilions at the Biennale overall, he believes that global interest in Africa is clear, and the AAVF did a brilliant job of focusing on the different aspects of the general art ecosystem in Africa. “We were proud to be part of it,” he says. “This kind of gathering allows art professionals from around the continent to meet and to learn from one another, and to build contacts so that they can collaborate over time. There is a sense of community when it comes to the African art world.”

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More is definitely more in the happy Bo-Kaap home of Tracy Rushmere, where riotous colours and patterns abound, and every carefully curated corner tells a story.

In the three decades that Tracy Rushmere has watched over Cape Town from this vantage point on the slopes of the historic Bo-Kaap, her Victorian home has seen almost as many alterations as the bustling city below. Initially, when she moved into the neighbourhood in 1995, she occupied one half of the semi-detached house with her photographer husband and baby son, while their architect friend, who bought the property with them and helped them renovate it, stayed in the other.

Walls were knocked down to open up poky rooms, original sash windows were re-installed, and bathrooms relocated (Victorian homes seldom had inside bathrooms). When Tracy’s daughter was born, the family took occupation of the entire property, getting rid of the dividing wall and turning the two houses into one. And, most recently, with the kids all grown up, the home’s staircase was moved to create another bedroom and bathroom downstairs. “At the age of 19, my daughter finally got her wish of her very own bathroom,” says Tracy with a laugh.

Through the years, one constant has always been the home’s warm and welcoming energy, largely brought about by Tracy’s gregarious, hospitable personality, but also thanks to its singular aesthetic infused with colour, humour and storytelling. At first glance, it might seem a lot – industrial meets vintage meets pop art meets curio – but there’s a clever curatorial eye at play. A vignette of pink flamingos in the front courtyard speaks to her family’s connection to the US (“Some people come back from America with clothes from GAP;I’ve always brought back flamingos…”), while a miscellany of hand-painted barbershop signs dotted throughout the house harks back to a period when she was a partner in a merchant store of African artefacts. Add to that a tableau of religious statuettes and iconography, from a jade Buddha and porcelain Mary Magdalene to vintage prints of Ganesh and Shiva, and you have an unconventional snapshot of some of her travels.

READ MORE: Monochromatic Cape Town Loft

“I have a strong aesthetic opinion, and I’m very specific about what I like – but I couldn’t tell you what it is,” says Tracy, smiling. “I think colour looks best on colour, and pattern on pattern. Yes, there’s a lot of stuff in my house, but I get what I love, you know what I mean?”

One could argue that the beating heart of this abode isn’t the kitchen, although it does cut an arresting figure with its vermilion lacquered cupboards, stainless-steel countertops, retro appliances and collection of curios. But it’s the space off to its side that has a stronger claim – a work-from-home office from which Tracy runs her African-inspired textile business Shine Shine.

Crowding around an altogether unassuming desk are bolts of fabric, scatter cushions, bucket hats and tea trays in riotous colours, emblazoned with pop-arty illustrations inspired by her travels throughout the continent. “I’ve always loved the textiles, wherever I travelled in Africa – the political cloths, the commemorative cloths, the religious cloths,” she explains. “And the work of Malian portrait photographers Malick Sidibé and Seydou Keïta has also been highly influential.”

Shine Shine’s design DNA is undeniably – you might even say inextricably – spliced with that of the home’s interior. The volume of both aesthetics is turned all the way up to 11, and unapologetically so. But there’s nothing deafening about it. In fact, it’s quite a joyful symphony – and Tracy is one masterful conductor.

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South African fine artist, motorbike adventurer and philanthropist Reggie Khumalo‘s first exhibition in West Africa, Mental Revolution, features an acrylic introspection into the liberation of African people; a deliverance from a painful past into a radiant future.

We caught up with him to find out more about his work, the space in which he is most creative and what advice he has for young artists looking to break onto the scene.

When did you start painting? Do you have any formal training?

I’ve always been sketching, since childhood. I would sketch my dad’s or someone else’s face. It was always faces for some reason. That continued for a long time. I never had any formal training or education. In 2012, I did a painting and I sold it. From there I knew it could become something. I officially
became a full-on artist when I was 27. That’s when I became a professional artist. I took a trip across the continent to find the artist within myself because I knew that it was there because I had it when I was younger and lost it at some point. I did collaborations across the continent and so on. I felt at home making art again. From there, when I came back to South Africa I became a full-time artist.

You say you lost the artist within you at some point and collaborations helped bring that artist back. Can you share one of the most profound/shaping collaborations you had during this journey of rediscovery?

Yes, I knew there was an artist in me and it took seeing other artists living their truth to get back to that part of me; it was easier to access that part of me when I was around others doing the same – as opposed to trying to bring it about myseIf.

I have a few stand-out collaborations and experiences. The first was meeting Hage Nasheotwalwa, a Namibian artist, after my motorbike expedition from Cape Town to Windhoek. We met through a friend and decided to do a painting together. We painted freely; I did my part, he did his. This came on the back of a lot of introspection: It was my first time out of South Africa on a motorbike, and I was asking myself “Reggie, what are you doing? Why are you doing this? Are you crazy?” My heart was soft to learning and seeing Hage live his truth taught me a lot.

The second experience was learning how to sculpt stone at Victoria Falls in Zimbabwe. I was working with some guys from a township; they taught me how to sculpt and I created a sculpture. I had no money at the time, but the next day a friend (who wasn’t aware of my financial situation) left $50 for me and that was exactly how much I needed to get to Mozambique. From there it was as if with each collaboration – learning to wood carve in Malawi, making bracelets in Namibia – somehow, some way, the money I needed appeared to me the next day. It was as if the Universe, God, was looking after me; showing me that I was destined to play this part. Art showed me that if I live it this way, things will happen and to trust in that.

What do you like most about your chosen painting technique?

I like that nothing is ever wrong. I can always go over it if I get it ‘wrong’ the first time. Lately, I’ve started incorporating mixed media, but acrylic is my medium.

How has your work evolved over time?

It has definitely evolved because of all the travelling I do. People, especially in Africa but also in Europe, inspire me. I am inspired by where I am. I tell the story of the people there. I also try to support the people wherever I am, in terms of charitable causes. I don’t only take from the spaces, I also give back. I think the more I grow, the more I find myself in these places, the more I find myself growing in my art and technique too. I’m forever growing and, therefore, so is the art.

You paint mostly portraits – are these real people? If not, where do they come from?

Some are real people; some are not. I change the faces. All the paintings you see are actual people but also fragments of my imagination. I would have seen a picture; I look at it once and then I start painting. When I do so it gets distorted in terms of how I feel and from what I’ve seen, so I’d say it’s a bit of both – real people but also not. When I started, I used to take images of people I met. Now, some of them are just images I find wherever. It may be online or elsewhere. I then go with the flow of wherever it takes me. The structure is inspired by an image of someone or something.

The clothing seems to be important to the work. Can you tell me about that?

Are you referring to the cloth or actual clothing? I can answer the question on both levels. The clothing captures the people. We know people by how they dress, so when you look at the images you know that this is where I’ve been. You can easily follow the story. If I do use the material from some of the places it’s to capture that place in my work. I capture the space and take it with me. I take the people and spaces with me because the shows are never where I’ve been. They are in Europe, America or wherever.

Describe the physical space in which you are most creative.

When I don’t have everything together, when I am not in my most comfortable space. I need to be constantly moving and changing spaces; this always breaks the ground for what I need to learn, to hear, to experience within myself: To hear my soul speak I need to be soft. Comfort spaces lead to repetition and a lack of growth. The more I am in spaces of discomfort, of newness, the more I pick up pieces of myself. I get new direction and inspiration. Lately, being by the water and the ocean – far away from the hustle and bustle of the city – leads me deeper into myself (which is why I am in Zanzibar).

Why is the location of your next exhibition, Lagos, important?

This will be my first show in West Africa. I think, as Africans, it’s important that we crisscross the continent in order to share our cultures and different points of view and to learn from one another; to capture a time in history. Travelling is the most important thing to do as an artist. We can fight things like xenophobia through art when we share other people’s stories, where they are coming from and why they are going through the things they are going through. What’s going on in those countries? I was in Sudan during the Revolution and I’d never seen people standing up against injustice. That changed my work. That’s what you see: Black faces in my work that are inspired by the people of Sudan at the time.

What’s next?

I’ve got a show in Munich and then New York at Rockefeller Centre with Bishop Gallery, which is my representation there. Then comes a residency with them for one year. That’s the plan, but let’s see. In the next two months, I‘m going on a trip across five African countries on a motorbike to raise money for
the UN’s Food Programme. I’m going to visit their projects, come up with a body of work and then donate back to those projects. I’m excited to get back on the road and do what I do best – to be wild, free, painting and sharing the spirit of Ubuntu to say, “Your brothers across the continent care about you. We are in this together as Africans.”

What advice would you give to a young artist looking to break into the scene?

Listen to the voice inside of you. Trust your path – the path that your soul leads you on. Listen to your heart and your soul and be deliberate in where you’re going. Your soul is always speaking to you. You just need to quieten everything else and listen to its messages. Your soul will never lie to you. It will get you into rooms you’ve never been in and take you to heights you wouldn’t otherwise reach. It’s almost spiritual so sometimes it won’t make sense to other people. It’s usually the path of least resistance, so just go with the flow – your flow.

For me it was hitting the road and going across Africa, being in a tent in the bush, on a rooftop in Ethiopia and still knowing that this is my path. Knowing that the world isn’t far ahead of, or better than, me. With that I say, never aspire to be other artists – even when they’re doing well and you aren’t. Celebrate them, congratulate them and know that your time will come. It’s a daily death – divorcing yourself from the desire to be others and coming back to being you.

BrownEyedBoy Art Pursuits in partnership with J.ROOM Curated is hosting Khumalo at the prestigious HourGlass Gallery in Lagos Nigeria from 13 to 20 April 2022. For more information, visit hourglassgallery.com.

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Southern Guild returns to the Investec Cape Town Art Fair in 2022 with a vast collection of multidisciplinary fine art works delivered by some of the most prolific and promising artists on the continent.

The Southern Guild booth promises to be a true exploration of the confluence of fine art and collectable design. Expect an extensive exhibition of paintings, ceramics, sculpture, functional art and the gallery’s first NFT work by Justine Mahoney – a piece based on the French mythological figure Mélusine.

Among the artists whose work will be presented are Navel Seakamela, Patrick Bongoy, Jozua Gerrard and Nandipha Mntambo who will be presenting her first collection of functional sculptures, ‘Transcending Instinct’. Additionally, several significant ceramic artworks by the likes of Andile Dyalvane, Zizipho Poswa, Madoda Fani and Chuma Maweni will feature.

Following the gallery’s success at Design Miami in December, Dyalvane, Poswa, Fani and Maweni will exhibit large-scale new works that lend an honourary nod to their cultural heritage, personal narratives and interests. Among these are monumental works by Poswa, glazed and painted in her signature exuberant colour, that form part of her Magodi series celebrating the majesty of traditional African hairstyles.

Seakamela, whose emotive portraits explore the tender side of masculinity, will show new mixed-media works on paper while emerging artist Jozua Gerrard’s series of large enamel paintings on glass reflects on intimacy in an age stolen by social media. Patrick Bongoy will debut a six-metre-wide wall-hanging painstakingly woven from strips of recycled rubber, while Dominique Zinkpé will present three abstract sculptures made from assemblages of carved wooden Ibeji dolls.

Other works making their debut include a bronze bust by Otto du Plessis; a bronze and timber table, etched brass panel and bronze sculpture by Stanislaw Trzebinski; a patinated aluminium mirror in a black granite base by Jesse Ede and Rich Mnisi’s Nyoka (“Snake”) console.

The Investec Cape Town Art Fair 2022 is on from 18 – 20 February 2022. For more information on what to expect at, go here.

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Self-taught Angolan illustrator and doodle artist Bráulio, who is based in Portugal, creates magical drawings using pen.

“I am fascinated by creating detailed, complex magical illustrations and also fun intricate doodles,” says Bráulio on his Patreon page. “I love to draw because paper allows me to create the impossible, the magical and the imaginary.”

His most recent ink sketches depict animals in whimsical scenarios, drawing inspiration from wildlife, starry galaxies and details from the different suits in a deck of cards.

“Mysteries of The Night” – Jack of Spades Last night I finished this drawing on my first ever live stream! It was so much fun! And the amount of support and love I received was way beyond anything I expected!! Thank thank you to everyone who stopped by and STAY TUNED for the next one! We ended up naming this owl Naja, idea of @bluejayillustrations!! .. .. #owl #art #ink #drawing #arte #arts_help #artist #artistic #sharingart #worldart #artsupport #art_spotlight #young_artist_help #artsy #instaart #moleskine #unipin #sketchbook #blackandwhite #deckofcards #theartofbraulio #jack #bird #star #nightsky #tree #flower

A post shared by The Art of Braulio (@theartofbraulio) on Jun 9, 2018 at 10:45am PDT

“Toro” 10 of ♤ Inspired by the Movie “The Book of Life” Sorry for the long absence, it has been pretty busy here with school and other art projects, now I’m excited to finish the ♤ This was a different drawing for me to make so I hope you like it! #theartofbraulio #doodle #art #ink #drawing #arte #arts_help #artist #artistic #sharingart #worldart #artsupport #bull #toro #rose #red #flower #petal #deckofcards #illustration #illustrator #unipin #instaart #moleskine #blackandwhite #blackworkillustrations

A post shared by The Art of Braulio (@theartofbraulio) on Jun 7, 2018 at 10:12am PDT

“9 Lives Beast” I hope this series is being as fun for you as it has been for me!! My favorite thing in art is to inspire people! I love to inspire and get you to be the creative person you already are! Whether that’s drawing or music or something else! If you wish to support my art you can help me by buying me a Coffee (link in Bio!) As always thank you so much for your unbelievable support! . . #theartofbraulio #doodle #art #ink #drawing #arte #cat #wool #play #deckofcards #illustration #illustrator #unipin #instaart #moleskine #blackandwhite #blackworkillustrations #sharingart #worldart #artsupport #art_spotlight #young_artist_help #artsy #yarn #pet #cute #friend

A post shared by The Art of Braulio (@theartofbraulio) on May 30, 2018 at 10:04am PDT

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Fondation Louis Vuitton is synonymous with celebrating art around the world, while also providing a platform for emerging artists.

This time around, the Fondation shifts the narrative into Africa. Art/Africa, Le Nouvel Atelier is a three-tiered group exhibition, featuring both well-known and up-and-coming artists from Africa and South Africa.

The diverse exhibition works in three parts: The Insiders, Being There, and alongside these shows, Africa, a new hanging of selected works by the Fondation with a broader scope of African art and art within the diaspora.

Art collector Jean Pigozzi’s personal collection of artworks will be curated by the Fondation’s director Suzanne Pagé to introduce The Insiders. Jean collaborates with well-travelled pioneer André Magnin for the collection that will showcase the myriad of cultural and religious landscapes within Africa. This unique and strong collection, curated through years of travel and interaction with many Sub-Saharan artists, is aimed at celebrating the artworks of 15 artists, including photographers Seydou Keïta and Malick Sidibe.

Complemented by Jean’s collection, Being There is a mirror of the inter-generational differences and similarities that exist between artists born and living within South Africa’s post-Apartheid landscape. Being the first of its kind, this show is about the dynamic vitality of the local art scene. The collection is curated by Suzanne, amongst others, and will feature the works of Jane Alexander, David Goldblatt, William Kentridge, Zanele Muholi, Moshekewa Langa and the new-generation of artists whose work confronts the reality of the post-Apartheid landscape: Athi-Patra Ruga, Buhlebezwe Siwani, and more. This selection of artists represents the diverse and complex web that ties and separates generations. Their art speaks to the personal and often misunderstood experience of identity and belonging, of artists having the difficult job of being activists through their work. The show space About a Generation continues the narrative and features photographic works from millennial artists like Musa Nxumalo, Kristin-Lee Moolman and Graeme Williams, who embody the space of the born-free youth of South Africa.

Beyond the exhibition, guests can expect a multi-disciplinary experience of music, poetry and literature, with a bilingual catalogue featuring texts from African writers.

This exhibition has set the tone for what can be done when global giants collaborate with artists, providing an excellent platform for nurturing and a deeper understanding of the artistic African narrative from different perspectives.

Art/Africa, Le Nouvel Atelier runs until 28 August 2017. For more information, visit fondationlouisvuitton.fr.

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