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Still from We Live in Silence (2017). Photo courtesy of Kudzanai Chiurai.

Kudzanai Chiurai's Mixed Media Series Challenges What It Means To Live in a Post-Colonial Society

The Zimbabwean contemporary artist recently showed his thought provoking exhibition, 'We Live in Silence' at this year's Dak'Art Biennale.

Kudzanai Chiurai is a Zimbabwean contemporary artist and activist who addresses issues as colonialism, corruption, xenophobia and democracy through his work.

Chiurai uses such mixed media as drawing, painting, videography and photography to tell his stories. His theatrical pieces reach widespread audiences across the world.


When applauded for being the first black student to graduate from South Africa's University of Pretoria with a bachelor's degree in fine art, he is not content. He says this shouldn't be an accomplishment and is revelatory of a flawed space in which people, resembling him, have seemingly been closed out. "Education should be accessible to all," he adds.

It quickly becomes evident that he possesses a fervor to both question his surroundings and spark conversation. At the onset of his career, Chiurai painted portraits and landscapes. When asked how he became an artistic activist, he laughingly says, "What you think you'll learn in uni never quite ends up that way, it's the best way is to broaden your horizons." While in university, he created works centered around Robert Mugabe, his country's prime minister at the time, that would ruffle feathers and bring about his self-imposed exile. Those works would be the beginning an aesthetic distinguishable by its social commentary.

Today, he's based in his native country and has made the riveting exhibition We Live in Silence (2017), from which a video was displayed at Dak'Art Biennale in L'ancien palais de justice. The exhibition is the culmination of a three-part series beginning with 2011's Revelation and 2016's Genesis focused on alternative "colonial futures."

Still from We Live in Silence (2017). Photo courtesy of Kudzanai Chiurai.

Chiurai stages a colonial history and rejects Africans thinking, speaking and understanding language like their colonizers. He even goes as far as placing women in the forefront of our liberation. Where history is often told from the perspective of the winner, Chiurai reflects on the triumphs of his own with powerful iconography.

The overall series is a response to 1967's French-Mauritanian film Soleil O centered on a black immigrant yearning to find himself and a sense of home in Paris post leaving Senegal. In the film, the main character is so dehumanized by his white counterparts that he goes mad. He faces rejection, humiliation and disinterest. Soleil O fills its viewer with a visceral sense of discomfort and provides a very real look at a reality still experienced by modern day french immigrants.

"We are living in post-colonial societies," Chiurai says. "Afro futures don't exist because of colonialism. We live in colonial futures that are synchronized with capital." African nations, though liberated from the Western world's grip on their land, are still shaped by colonial social and political institutions. These institutions still govern how we live our lives. Currently, we are called "to integrate ourselves in a system that doesn't suit us and abuses us," he says. Chiurai dissects the aforementioned with collages comprised of images from the past, present and future. He places different aspects of our history into one moment in time.

Art provides the rather reclusive Chiurai with a voice. Despite not having social media or a website, he celebrates dwelling in a world where his art is placed alongside that of his peers in places like South Africa's Goodman Gallery. "We no longer have private lives. We don't have 'my,' 'I' [or] 'that.' We have 'we' and 'us,'" he says. "Being on platforms where other artists are is 'us.' Being a part of other conversations. It's not singular, it's plural. In the same way we have not singular identities but plural identities. My work reflects this. It's a shift that is taking place."

If his images have one message, I hold it is this: he is an African championing the continent and propelling its overall culture forward. We'll be sure to follow him as he works on a film and partakes in shows in Sweden and Germany.

Audrey Lang is an alumna of Northeastern University and a Boston-based site merchandiser. A surveyor of life who's enamored with all things fashion, art and Africa, keep up with her on Instagram and Tumblr.

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Image courtesy of Trap Bob.

Trap Bob Is the 'Proud Habesha' Illustrator Creating Colorful Campaigns for the Digital Age

The DMV-based artist speaks with OkayAfrica about the themes in her work, collaborating with major brands, and how her Ethiopian heritage informs her work.

DMV-based visual artist Tenbeete Solomon also known as Trap Bob is a buzzing illustrator using her knack for colorful animation to convey both the "humor and struggle of everyday life."

The artist, who is also the Creative Director of the creative agency GIRLAAA has been the visual force behind several major online movements. Her works have appeared in campaigns for Giphy, Girls Who Code, Missy Elliott, Elizabeth Warren, Apple, Refinery 29 and Pabst Blue Ribbon (her design was one of the winners of the beer company's annual art can contest and is currently being displayed on millions of cans nationwide). With each striking illustration, the artist brings her skillful use of color and storytelling to the forefront.

Her catalog also includes fun, exuberant graphics that depict celebrities and important moments in Black popular culture. Her "Girls In Power" pays homage to iconic women of color in a range of industries with illustrated portraits. It includes festive portraits of Beyoncé, Oprah, Serena Williams and Michelle Obama to name a few.

Trap Bob is currently embarking on an art tour throughout December, which sees her unveiling murals and recent works for Pabst Blue Ribbon in her hometown of DC and during Art Basel in Miami. You can see her tour dates here.

We caught up with the illustrator via email, to learn more about the themes in her work and how her Ethiopian heritage informs her illustrations. Read it below and see more of Trap Bob's works underneath.

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Headdresses 2 (Collaged) by Helina Metaferia, 2019. Image courtesy of the artist and PRIZM Art Fair.

Here's What to Expect at This Year's PRIZM Art Fair In Miami

The yearly art fair, now showing at Miami Art Week/Art Basel Miami Beach tackles 'Love In the Time of Hysteria,' with works by artists from across the diaspora.

PRIZM Art Fair is back again for its seventh edition, once again highlighting some of the brightest artists from Africa and the diaspora during Miami Art Week/Art Basel Miami Beach.

This year's exhibit, entitled Love in the Time of Hysteria, features several works curated by William Cordova, Ryan Dennis, Naiomy Guerrero, Oshun Layne as well as PRIZM Art Fair's founder and director Mikhaile Solomon. It includes pieces from 42 international artists, hailing from over 13 different countries, including Barbados, Bahamas, Grenada, Guadeloupe, Guyana, Martinique, Morocco, Nigeria, Egypt, Norway, South Africa, Ghana and the United States.

"Love in the Time of Hysteria illustrates how love, compassion and respect endure in a social milieu riddled with divisive political rhetoric, unprovoked attacks on members of marginalized communities and broad societal malaise as a result of economic inequity," said PRIZM in a press release.

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Photo by Lana Haroun

From #FeesMustFall to #BlueforSudan: OkayAfrica's Guide to a Decade of African Hashtag Activism

The 2010s saw protest movements across the continent embrace social media in their quest to make change.

The Internet and its persistent, attention-seeking child, Social Media has changed the way we live, think and interact on a daily basis. But as this decade comes to a close, we want to highlight the ways in which people have merged digital technology, social media and ingenuity to fight for change using one of the world's newest and most potent devices—the hashtag.

What used to simply be the "pound sign," the beginning of a tic-tac-toe game or what you'd have to enter when interacting with an automated telephone service, the hashtag has become a vital aspect of the digital sphere operating with both form and function. What began in 2007 as a metadata tag used to categorize and group content on social media, the term 'hashtag' has now grown to refer to memes (#GeraraHere), movements (#AmINext), events (#InsertFriendsWeddingHere) and is often used in everyday conversation ("That situation was hashtag awkward").

The power of the hashtag in the mobility of people and ideas truly came to light during the #ArabSpring, which began one year into the new decade. As Tunisia kicked off a revolution against oppressive regimes that spread throughout North Africa and the Middle East, Twitter, Instagram and Facebook played a crucial role in the development and progress of the movements. The hashtag, however, helped for activists, journalists and supporters of causes. It not only helped to source information quickly, but it also acted as a way to create a motto, a war cry, that could spread farther and faster than protestors own voices and faster than a broadcasted news cycle. As The Guardian wrote in 2016, "At times during 2011, the term Arab Spring became interchangeable with 'Twitter uprising' or 'Facebook revolution,' as global media tried to make sense of what was going on."

From there, the hashtag grew to be omnipresent in modern society. It has given us global news, as well as strong comedic relief and continues to play a crucial role in our lives. As the decade comes to a close, here are some of the most impactful hashtags from Africans and for Africans that used the medium well.

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Screenshot from the upcoming film Warriors of a Beautiful Game

In Conversation: Pelé's Daughter is Making a Documentary About Women's Soccer Around the World

In this exclusive interview, Kely Nascimento-DeLuca shares the story behind filming Warriors of a Beautiful Game in Tanzania, Brazil and other countries.

It may surprise you to know that women's soccer was illegal in Brazil until 1981. And in the UK until 1971. And in Germany until 1970. You may have read that Sudan made its first-ever women's league earlier this year. Whatever the case, women and soccer have always had a rocky relationship.

It wasn't what women wanted. It certainly wasn't what they needed. However, society had its own ideas and placed obstacle after obstacle in front of women to keep ladies from playing the game. Just this year the US national team has shown the world that women can be international champions in the sport and not get paid fairly compared to their male counterparts who lose.

Kely Nascimento-DeLuca is looking to change that. As the daughter of international soccer legend Pelé, she is no stranger to the game. Growing up surrounded by the sport, she was actually unaware of the experiences women around the world were having with it. It was only recently that she discovered the hardships around women in soccer and how much it mirrored women's rights more generally.

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