Simon Njami

Lucy Durán

In 2005, The Hayward Presents The Largest exhibition of contemporary African art ever seen in Europe. An international collaboration with major galleries in Dusseldorf, Paris and Tokyo, this ground-breaking exhibition and book bring together works in every medium by more than 70 artists. From Cairo to Cape Town, African artists from across the continent and from the diaspora are taking part in this spectacular survey of African creativity. This richly illustrated book includes colour reproductions and information on each of the artists.

Contemporary Art of a Continent

Africa Remix

Zwelethu Mthethwa

This volume offers a concise introduction to the large-format color photography of Zwelethu Mthethwa (born 1960), South Africa's most prominent living photographer. Mthethwa's portraits of Cape Town citizens emphasize qualities of defiance, pride and endurance of hardship, with what the "New Yorker" described as "an energetic ambivalence between documentary photography and fine-art portraiture."

Africa remix: Contemporary art of a continent features the work of more than 85 artists from 25 countries on the African continent and the Diaspora.

Sean O'Toole

The Journey' profiles 17 emerging positions in contemporary African photography. The versatile practices of these young photographers from the Democratic Republic of the Congo, Ethiopia, Ghana, Ivory Coast, Kenya, Mozambique, Nigeria, South Africa, and Sudan encapsulates some of the ambitions, enthusiasms, and possibilities of African photography today. All of them are alumni of the?Photographers? Masterclass?, a decade-long mentorship-program (2008?2018) by curator Simon Njami and the Goethe-Institut. 13 essays, considering African photography in this particular historical moment, complement the book.

New Positions in African Photography

The Journey

Jane Alexander

DaimlerChrysler

Akiko Miki

Somewhere between realism and metaphor, humanity and bestiality, South Africa and the rest of the world, Jane Alexander's sculptures give shape to the brutal, painful, tragic, bizarre, incomprehensible, and fragile existence of her multicultural society--and, to a lesser extent, others. Existening in a no-man's-land where the difference between victim and perpetrator is blurred and meaningless, her life-size figures, made from fiberglass, wood, clay, and found objects, sometimes dressed as people do, sometimes naked as people and animals are, are uncanny in their astonishing naturalism, a naturalism thwarted by bandages, animal masks, incomprehending animal eyes, and violent lacerations. This is the first extensive publication dedicated to Alexander's work.

Simon Njami

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