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How do young African professionals imagine a future for the continent’s cities? Building African Futures presents ten essays by young architects, urban planners and activists that offer innovative solutions to big challenges, including housing shortages, informality, legal roadblocks and misunderstandings between architects, policy-makers and local people. Their ideas are grounded yet transformative.
It is 2022, just over a century since the founding of arguably the world’s most widely celebrated art and design school. In 2019, on the occasion of the Bauhaus’ centenary, the world’s media focused on the various ‘legacies’ of this school. Such retrospective appraisals of Bauhaus moment(s), movement(s) and model(s) demonstrate that the school has certainly not gone missing. Using the notion of verfehlen/missing as a point of departure, these time-travelling and varied contributions from the Global South posit different ways in which the word missing may be applied to the Bauhaus: Contributors from arts, architecture and design backgrounds raise and critique a range of problematic aspects attached to a nostalgic position of longing for the Bauhaus and reveal numerous instances of how the school’s mythologised model, freighted with Western confidence and hardheadedness, often simply misses, and continues to miss the point.
This book takes the reader on a thematic journey through the rooms of a former house in Cape Town that Association for Visual Arts (AVA) has, since 1971, called home.
This monographic book gives an extensive overview of the artistic work of Ndidi Dike – one of Nigeria’s most dedicated and focused artists.
Groundbreaking upon its release in 1987, Till Death Us Do Part is a 20-screen video-wall installation made by British/Ethiopian artist Theo Eshetu.
“Bixinho” is an affectionate term of northeastern Brazil, to refer to someone close, and it is about affection the images here present, about different affections: the affection of the photographers to the art of photography, the romantic-sexual affection between two lovers, the affection of friendship.
“These photos can be a gun for those who hate, for those who try to deny our very existence, our love, our family. But our intention is not to hurt-yes, we are fighters, but if our art, our bodies can be weapons we chose to fight side by side the ones who love, staying strong, staying together. In the midst of chaos, hope resists, Marielle Vive!”
“And our bodies become resistance, beyond any and every art.” (Raí Gandra, bixinho)
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