“Racism is a recurrent subject on C&. The Western malaise permeates our entire lives and that includes the art world which often presents itself as a beacon of hope and open-mindedness. That is, until incidents such as the one last month at the theater Münchner Kammerspiele, where Kasper König made a series of racist comments. In the same panel, the veteran curator also racially abused artist and discussant Cana Bilir-Meier, who went on to start the open letter Es kotzt uns an – We are sick of it that denounces racisms in the arts. We’ve collected five distinct perspectives from art practitioners on this issue”. https://www.contemporaryand.com/magazines/racism-in-the-art-world-a-luta-continua/ Image Caption: Protesters demand the renaming the M*straße in Berlin Mitte. Photo: Tahir Della

In November this year, a report written by Bénédicte Savoy and Felwine Sarr evaluated the urgent need for restitution of looted African artifacts held in French museums. Commissioned by French President Emmanuel Macron, the 108-page report lays out some steps for the long-awaited restitution. Eric Otieno looks at the major conclusions from the groundbreaking report and comments on positive and negative reactions from European cultural institutions so far. https://www.contemporaryand.com/de/magazines/the-first-reactions-to-the-report-on-restitution-of-looted-art/ Image: Unvergleichlich: Kunst aus Afrika im Bode-Museum (Beyond Compare: Art from Africa in the Bode-Museum), Installation view © Staatliche Museen zu Berlin / David von Becker

“Because I live here”, an exhibition at the Museum for Modern Art in Frankfurt, places post-migrant German society under the microscope to reveal structural violence. As the first show of its kind to specifically address racism and violence in post-migrant German society, it’s a milestone for contemporary art as far as its pertinent themes are concerned. https://www.sleek-mag.com/article/because-i-live-here/ Image: Installation view of Emeka Ogboh’s, “Sufferhead Original” (Frankfurt edition), 2018, Courtesy Emeka Ogboh. Photo: Axel Schneider

Die Frankfurter Schirn hat mit ihrer Ausstellung “König der Tiere: Wilhelm Kuhnert und das Bild von Afrika” eine Debatte entfacht: Wo bleibt die kritische Einbettung dieses Malers im Gefüge des deutschen Kolonialismus? Die Kritik ist berechtigt, schreibt Eric Otieno in seinem Gastkommentar für Monopol https://www.monopol-magazin.de/kuhnert-der-malende-kolonialherr. Bild: Wilhelm Kuhnert beim Malen, 9. September 1911, © Nachlass Wilhelm Kuhnert

As 1-54 Contemporary African Art Fair opens today in London’s Somerset House, Eric Otieno explores how the fair provides a new perspective on art from Africa and its diaspora https://www.sleek-mag.com/article/1-54-contemporary-african-art-fair/ Image: Larry Achiampong (Copperfield Gallery)

The politics of heritage in South Africa @Mandela100 https://otienos.com/projects/6550277

The artist translates conceptual affirmations of her creative self into the multi-sensory piece and way of thinking, Power to the God Within http://nataal.com/jojo-abot Image: Jojo Abot & (c) akofilms.com

As the Berlin Biennale opens its doors, Eric Otieno interrogates one newspaper’s sweeping statement about the apparent diversity of the German art scene.Is art really the new Black? http://www.sleek-mag.com/2018/06/08/berlin-biennale-art-new-black/ Image: Work by Emma Wolkau Wanambwa at the 10th Berlin Biennale.

Johannesburg, March 2018.

Libertad 2015. © Eric Otieno

Check Point Sekondi Loco. Installation by Ibrahim Mahama documenta14 – Kassel. Images: Lisa Kolloge

Image: Lisa Kolloge