Power, Practice, Place: Cultural Politics Reexamined

AUSTRIAESSAYFILLY GUEYESENEGALVEREIN K

Filly Gueye

Contemporary art exists in fragmented worlds, distinct yet interconnected within a constellation defined by time, societies, practice, and geography. While its reach appears global, the reality is a landscape divided by history and systemic inequities. These divides are starkly visible in the separation between “Contemporary Art” and “Contemporary African Art”, a distinction that reveals unspoken yet incisive biases rooted in colonial histories. Such categorizations are not mere semantics, they highlight how colonial extraction, exploitation, and control continue to shape the global art world. The residues of these practices, seen today as neocolonial frameworks, influence not only how art is created but also how it is funded, distributed, and narrated.

In Senegal, critical thinking is deeply rooted in cultural traditions and is shaped by writers, thinkers, scholars, anthropologists, and oral historians who preserve knowledge, heritage and practices across generations. This intellectual framework allowed me to bring up many questions to my discussions during the Visiting Critics Vienna residency[1] hosted by Verein K.[2] Reflections regarding and surrounding critics, demonstrating the potential of cross-geographical collaborations, were prevalent as we unpacked the 10-day journey at the restitutive panel with my fellow residents. Themes included the importance and duty of critics in creating moments of reflection on the political, historical, academic, economic, and social implications of practitioners and institutions. This exposed a moment to revisit the term “critic” and those who bear this responsibility, and how it is used within language and poetry to reach, transform, and enlighten readers of diverse backgrounds. There was a challenge to view the critic within the context of curators, artists, exhibition makers, and researchers. However, it was contested through the many visits within the program.

Visiting the exhibition “Scessions: Klimt, Stuck, Liebermann”, 23.05 -13.10.2024, Wien Museum (Vienna). Photo by Ndeye Filly Gueye. Image courtesy of Ndeye Filly Gueye.
Visiting the exhibition “Scessions: Klimt, Stuck, Liebermann”, 23.05 -13.10.2024, Wien Museum (Vienna). Photo by Ndeye Filly Gueye. Image courtesy of Ndeye Filly Gueye.

To understand the challenges contemporary art faces, it is essential to examine its colonial legacies. For centuries, the extraction of labor and resources from the Global South fueled the wealth and cultural dominance of the North. This dynamic entrenched a hierarchy of value and access, where the narratives, aesthetics, and contributions of marginalized communities were systematically excluded or commodified. Even now, these inequities persist in how mainstream art is defined and consumed. “Contemporary African Art,” for instance, is often celebrated for its vibrancy and innovation but remains exoticized and compartmentalized within global systems that prioritize Eurocentric narratives. Moving through this landscape requires a critical reassessment of terms like international. Frequently deployed to suggest inclusivity, the term often conceals its Eurocentric limitations, especially in cultural capitals like Vienna. The Visiting Critics Vienna program, however, offers an opportunity to expand this definition. By incorporating voices from Senegal, South Africa, Iran, the UAE, and diasporic communities, it challenges the traditional boundaries of internationalism in art. This inclusion sparks critical dialogue, enriching the program and revealing how diverse perspectives can reframe such discourse.

Disparities in how art is funded and supported further highlights such systemic inequalities. In Europe, cities like Vienna exemplify the benefits of robust state-funded systems, municipal initiatives, and private investment. Artists and institutions operate within an environment of financial cushion, with resources that enable stability and success. The Senegalese art scene tells a markedly different story as outlined in “Intersecting Trajectories and Funding Paradigm Shifts in the Cultural Sector: A Perspective from Dakar”[3] by Delphine Buysse and Mame Farma Fall. Senegal’s cultural sector grapples with persistent financial challenges due to minimal government support. This underfunding redirects institutions to predominantly rely on external funding sources, creating a precarious ecosystem for sustaining artistic and cultural initiatives. RAW Material Company, founded by Cameroonian-born curator Koyo Kouoh in 2008[4]in Dakar, embodies financial independence by redefining sustainability, fostering a model that shifts the conversation toward self-reliance and innovative resource management in institutional building. RAW Material Company has established itself as a centre for art, knowledge, and society in the contemporary cultural landscape. Not solely focused on having a gallery space but also being a platform for appreciation and growth of artistic and intellectual creativity in Africa, it is also engaged with curatorial practice, artistic education, residencies, knowledge production, and archiving of theory and criticism on art. By advancing autonomous funding models and institution-building strategies, RAW transcends financial constraints and creates sustainable frameworks that support its mission and programming.

Façade of RAW Material Company: centre for art, knowledge and society, founded by Koyo Kouoh. Dakar, Senegal. Photo: Antoine Tempé. Image courtesy of RAW Material Company.
RAW Material Company, Dakar, Senegal. Photo by Sabali Inc, Djibril Drame. Image courtesy of RAW Material Company.
Issa Samb, “The Whisperer”, performance with participation of Koyo Kouoh, 2013. RAW Material Company (Dakar). Photo by Antoine Tempe. Image courtesy of RAW Material Company.

Over its 15-year history as an independent entity in the arts and cultural sector, RAW has been instrumental in amplifying Black narratives and the experiences of the diaspora through the retelling and rewriting of stories not just through exhibitions, but with the inclusion of discourses. Many historical unfoldings led to RAW Material Company’s creation, firstly the Négritude movement, in which Senegal’s poet-president Leopold Sedar Senghor was heavily implicated. An array of black figures and references from literature, academia, and contemporary art accentuated the liberation movement post independence during his presidency. A second temporality was the positioning of Laboratoire Agit’Art collective[5] with sculptor, playwright, performance artist, painter, author and social worker, Issa Samb,[6] a founding member of the collective and remarkable “total artist” of a generation of multidisciplinary artists, with a rooted political and community-based outlook. A key mentor to Kouoh, Samb evoked many realities of the functioning and essence of African traditions in artistic practice outside of any precarious and Western implications.

A key endeavor of RAW is the biennial symposium series entitled Condition Report.[7] These gatherings catalyze new conversations and foster awareness of the shifting dynamics in contemporary art, solidifying RAW’s position as a leading force in shaping the creative landscape, which includes initiatives working on key topics such as institution building, ecological consciousness, and exploration of untold or Indigenous stories, knowledge production, and the archiving of critical theory. It also showcases the resilience and ingenuity required to sustain a contemporary art ecosystem in the context of transferring resources from Black and Indigenous societies to the benefit of such systems in Europe.

Exhibition view, “May Our Songs May Be Worthy of Those Who Listen” curated by UntitledDuo, 02.03 – 02.06.2024, RAW Material Company at La Casa Encendida (Madrid). Photo: La Casa Encendida / Maru Serrano. Image Courtesy of RAW Material Company.
Exhibition view, “May Our Songs May Be Worthy of Those Who Listen” curated by UntitledDuo, 02.03 – 02.06.2024, RAW Material Company at La Casa Encendida (Madrid). Photo: La Casa Encendida / Maru Serrano. Image Courtesy of RAW Material Company.

RAW Material Company exemplifies the transformative role of institution building in fostering equitable access to contemporary art and cultural narratives while addressing hidden histories shaped by colonial intervention. Central to its mission is extending support to diasporic communities and amplifying silenced voices in the Western world. Institutions must address systemic imbalances – such as the marginalization of women, Black, and Indigenous voices – by challenging colonial narratives, ensuring fair resource distribution, and celebrating the diverse contributions often overlooked in dominant discourse. However, the sustainability of such efforts in Senegal’s cultural sector is hindered by insufficient domestic and governmental financial support, leaving institutions heavily reliant on external funding from cultural institutes and government agencies, such as the French, German, Belgian, and American Embassies.

RAW Material Company operates within this challenging context, combining curatorial practice with a critical, analytical approach to foster collaboration among thinkers, architects, researchers, artists, and curators. By driving projects that amplify underrepresented histories and challenge conventional narratives, RAW highlights the resilience of Senegal’s cultural institutions despite systemic financial constraints. Through international partnerships with art spaces and initiatives sharing similar values, RAW reexamines spectral histories through research and archives, broadens creative practices, and ensures access to critical resources. This contrasts sharply with Vienna’s structured financial framework, where consistent funding from the ministry of culture, the city, and private grants ensures the long-term sustainability of its cultural ecosystem. The contrast between Vienna’s structured financial allocations and Senegal’s dependence on external aid underscores the profound impact of funding paradigms on cultural ecosystems. Without increased domestic and governmental financial allocation, Senegal’s cultural sector faces significant challenges in fostering long-term sustainability and growth.

These very different economic models also provoke reflection on how autonomy and sustainability can be achieved within different contexts. In Vienna, former social housing complexes are repurposed to host artists for multi-year residencies and private collections are structured to prioritize Vienna-based creators, reflecting this generosity. Yet, such systemic ease can sometimes foster complacency to a fault, which was witnessed in certain studio visits. Observing this abundance, one cannot help but wonder: does this comfort undermine the urgency and critical edge of artistic and institutional practices? In other instances, notable Vienna-based artists demonstrated that deeply-rooted narratives can sustain compelling artistic practices within this cushioned environment.

Group photo of VBKÖ members on the occasion of the 20th anniversary exhibition “Zwei Jahrhunderte Kunst der Frau in Österreich”, circa 1930, original print. Austrian Association of Women Artists/VBKÖ (Vienna). Photo by J. Marek. From the archive of VBKÖ. Image courtesy of VBKÖ.
Studio visit with Tehran-born visual artist Ramesch Daha who is currently President of the Vienna Secession, in the context of Verein K Visiting Critics Vienna program. September 2024. Photo: Ndeye Filly Gueye. Image courtesy of Ndeye Filly Gueye.

Stephanie Misa, a visual artist and researcher with ancestral ties to the Philippines, shared her work Untitled (Sakada) (2012/2022) during a studio visit. This piece translates archival discoveries into a deeply personal story collected from her grandmother, originally from the Philippines who later relocated to Hawaii. This work represents an examination of the Philippine-Hawaiian relationship under American colonial rule during the 19th century. Ramesch Daha, born in Tehran and living in Vienna since 1978, explores the intersections of art and politics through archival material and migration narratives. Her work, Unlimited History: Klein Sigmund (2020), delves into the history of Persia during World War II, using letters from her step-grandfather, a survivor of Dachau concentration camp, as a foundation to map the connections between her ancestral land and larger historical events. These artists exemplify how archives and personal histories can generate profound and politically resonant work. These important aforementioned art practitioners are also holding critical positions of power in Vienna as a challenge to the status quo, for example, Stephanie Misa is a member of the historic Austrian Association of Women Artists (VBKÖ), which was founded in 1910. In January 2024, she co-curated the exhibition Archival Sites of Speculation: Storying the Silence[8]forVBKÖ, which addressed gaps in documentation, testimony, and preserved historical records. By blending archival research with imaginative reconstruction, the exhibition sought to interpret and give substance to the silences within historical archives. Daha has been the president of the Vienna Secession since October 2021, marking an important shift in the space and its governance, opening the social dialogue around its histories, its privileges within society, its politics, and culture for improved access to the space, which is a long way from the traditional artistic styles, backgrounds, and knowledge traditionally known to the Secession.

SKGAL (Nina Höchtl, Julia Wieger), “Archival Sites of Speculation: Storying the Silence” curated by George Holz and Stephanie Misa, 12.01 – 11.02.2024. Austrian Association of Women Artists/VBKÖ (Vienna). Photo: Daniel Hill. Image courtesy of VBKÖ.
Belinda Kazeem Kaminski, “Archival Sites of Speculation: Storying the Silence” curated by George Holz and Stephanie Misa, 12.01 – 11.02.2024. Austrian Association of Women Artists/VBKÖ (Vienna). Photo: Daniel Hill. Image courtesy of VBKÖ.

As we proceeded in our visit to the MuseumsQuartier, there was a haunting lack of contributions and experiences of Afro-European communities. It became evident within this ecosystem that my added value to this process was the observation of narratives of the global South or global majority – and how, during this residency – it was or was not represented in the works on view in Vienna. And, that a calibration between what has transpired and a rectification within institutions and the construct of the contemporary art realm, was needed. We visited Mapping the 60s: Art Histories from the mumok Collections, which explored global movements like the U.S. Civil Rights era, student revolts, anti-colonial liberation struggles and protests against the Vietnam War, emancipation, the global triumph of pop culture, consumer society, rapid technological and media progress. It extended to recurrent subjects and events of today through the aesthetic lens of advertising through mainstream mediums in order to take part in the conversation of awareness for global activism of Black, African, and Indigenous groups. I was left with the feeling that representation in contemporary art demands more than the inclusion of what is perceived as “marginalized” narratives. It requires curatorial approaches that prioritize context and cultural responsibility.

Visiting the exhibition “Mapping the 60s: Art Histories from the mumok Collections”, 05.04.2024 – 10.05.2026, mumok (Vienna). Photo by Ndeye Filly Gueye. Image courtesy of Ndeye Filly Gueye.
Visiting the exhibition “Mapping the 60s: Art Histories from the mumok Collections”, 05.04.2024 – 10.05.2026, mumok (Vienna). Photo by Ndeye Filly Gueye. Image courtesy of Ndeye Filly Gueye.

Also at mumok, Avant-Garde and Liberation: Contemporary Art and Decolonial Modernism, sought to explore the ties between contemporary artists and decolonial avant-gardes from Africa, Asia, and the “Black Atlantic,” highlighting their relevance in addressing racism, fundamentalism, and neocolonialism. While ambitious in scope, the exhibition leaned heavily on aesthetics, undercutting its potential to engage deeply with the lived histories it referenced. The absence of curators with ties to these regions left the narratives incomplete, diminishing the works’ critical resonance. A more grounded approach, informed by voices from within the represented geographies, could have anchored the exhibition in both its artistic, curatorial, and political intentions. By focusing primarily on form rather than lived context, the exhibition missed an opportunity to fully dismantle the hierarchies it sought to critique, leaving its message fragmented and its impact diminished. The absence of these narratives again points to the broader challenge: how institutions approach storytelling and inclusion. Representation must move beyond symbolism to become transformative, ensuring that the voices of historically silenced communities are central to cultural narratives. There is an urgent need for intentional and meaningful representation within artistic and cultural institutions.

In her essay “Untold Narratives” for the gallery festival Curated by,[9] Dr. Noit Banai[10] examines the amplification of marginalized voices, communities, and both immaterial and material memory through a non-hierarchical lens. She emphasizes the importance of unconventional societal storytellers and leaders, advocating for diverse representation that transcends traditional norms to shape a multicultural, ethno-nationalist world. “Untold Narratives” invites Vienna’s galleries and artists to engage with archives as communal resources, fostering humanized, compassionate interpretations of silenced histories. This approach underscores the vulnerability and significance of these stories, urging a shift from conventional practices to more inclusive frameworks. Parallel to the structure of Curated by, in Senegal we have Partcours,[11] an initiative founded by Mauro Petroni and Koyo Kouoh in 2012, to foster collective ongoing engagement of the art ecosystem within Senegal.

Building on Banai’s momentum and declarative tone for Vienna, the theme of archives as repositories of collective memory threaded through many spaces visited, from museums to artist studios and galleries. These encounters raised pressing questions: How are Black and silenced narratives represented with intentionality to challenge the systemic wealth tied to historical exploitation? Do current structures serve their stakeholders equitably or do they perpetuate inequalities? How can diasporic narratives be foregrounded to disrupt these disparities? And most critically, how do these spaces enable these communities to see themselves within their artistic practices?

Upon entering gallery Sophie Tappeiner, I was immediately captivated by Akeem Smith’s solo exhibition. Smith, a Brooklyn-born, Jamaica-raised, Philadelphia-based multimedia artist, works in sculpture and video to explore complex themes. His work draws inspiration from the concept of “Architecture of Necessity,”[12] a term coined by Cuban visual artist, researcher and designer Ernesto Oroza. This concept reinterprets design thinking as a response to socio-economic and political constraints, emphasizing resourcefulness in community building. It encourages reimagining design terminologies to align with societal needs in the face of shifting political and economic realities. For Oroza, this concept embodies resilience in Havana just as it does for Smith in Kingston.

Akeem Smith, “Dovecote”, exhibition view, 17.09 – 19.10.2024, Sophie Tappeiner (Vienna). Image courtesy of Sophie Tappeiner.
Alice Slyngstad, “Flare demure”, exhibition view, 06.09 – 09.11.2024, Kunstraum Niederoesterreich (Vienna). Image courtesy of Kunstraum Niederoesterreich.

Smith’s exhibition, titled Dovecote, curated by Kyle Thurman, centers on a monumental video installation that embodies this philosophy. The focal point is a striking sculpture made from salvaged wrought-iron, reminiscent of the protective window grills found in Kingston’s urban architecture. This sculpture frames a double-sided screen playing slowed-down archival funeral footage of women, evoking the deliberate pace of image consumption on social media. The installation’s juxtaposition of celebratory grief with its material form creates a poignant resonance, akin to a bird in a cage. This interplay captures the release of sorrow through a celebration of life, reflecting the vibrancy of dancehall culture. Through its expression in music, fashion, and communal rituals, dancehall transforms life’s events into deeply philosophical undertakings, embracing resilience and joy amidst adversity.

The exhibition THE ALLEGORY OF DECOY – Art as Decoy for Social and Political Change at Galerie Hubert Winter, curated by blaxTARLINES KUMASI[13] (Kwaku Boafo Kissiedu (Castro) and Nuna Adisenu-Doe) for Curated by, brought a refreshing presence of the African rethinking on liberation views in Vienna. This show addresses the ecological issues tied to dumping on the African continent as a result of capitalism and consumerism. In this show, art is used as a decoy for social and political change, for cultural and intellectual emancipation as a continuation of Kwameh Krumah’s vision of decolonisation, with awareness and knowledge as a key tool in the process. This exhibition brought together seven artists influenced by the Painting and Sculpture Department at KNUST (Kwame Nkrumah University of Science and Technology): Akosua Odeibea Amoah-Yeboah, Kelvin Haizel, Gideon Hanyame, Ibrahim Mahama, Afrane Makof, Daniel Arnan Quarshie, and Tracy Naa Koshie Thompson. A collection of clothing from artist Daniel Arnan Quarshie’s parents is explained as a memoir, facing a drawing on canvas depicting mountains of piled fashions in Ghana – a depot of dumping for the Western world (UK, Europe, North America, and Australia) – creating ecological issues which puts into question the production and waste management of the fashion industry.

Exhibition view, Ibrahim Mahama, “Ayishetu”, “Maria”, “Safura”, “Samsia”, 2014, “THE ALLEGORY OF DECOY” curated by blaxTARLINES, 14.09-19.10.2024, Galerie Hubert Winter (Vienna). Photo: Simon Veres. Image courtesy of the artist and Galerie Hubert Winter.
Exhibition view, Daniel Arnan Quarshie, “Into the Badlands”, 2024, charcoal on canvas, 240 x 360cm, “THE ALLEGORY OF DECOY” curated by blaxTARLINES, 14.09-19.10.2024, Galerie Hubert Winter (Vienna). Photo: Simon Veres. Image courtesy of the artist and Galerie Hubert Winter.

Alice Slyngstad’s performance art piece Flare Demure, curated by Frederike Sperling at Kunstraum Niederoesterreich, explores societal norms and expectations shaped by power dynamics through a sensory, participatory experience. Kunstraum, known for redefining performance art within exhibition spaces, provides the perfect context for Slyngstad’s innovative approach. Her work blurs the boundaries between digital forms and physical senses, creating a deeply immersive environment that challenges conventional perceptions of performance. In Flare Demure, the gallery is transformed into a dimly-lit environment where sound recordings envelop visitors, fostering a refined yet somber atmosphere. Human-sized metal sculptures adorned with delicate glass lilies of the valley synchronize with the soundscape, their visual presence mirroring the tonal shifts in the audio. As the sound evolves, the room’s temperature fluctuates, and flickering lights create a dynamic interplay between sensory perception and the unfolding performance. Darkness predominates, emphasizing themes of visibility and observation.

This sensory-driven engagement invites the audience to navigate a destabilized environment, drawing parallels to uncertainty and disorientation in societal structures. The absence of Slyngstad’s physical presence within the space adds a layer of ambiguity, encouraging viewers to surrender to the unknown. The performance becomes an exploration of how absence and mystery can foster new ways of perceiving and orienting ourselves, offering a poignant commentary on the interplay between the body, space, and kinaesthetic experience in performance art. This resonates with broader cultural dynamics, highlighting the potential of performance art to question and reshape the societal structures of visual arts.

By fostering inclusive spaces for dialogue and expression, contemporary art can evolve into a platform that truly values diverse perspectives, offering a vision of equity that transcends traditional hierarchies and redefines the cultural landscape. A hierarchical structure cannot achieve genuine inclusivity. Instead, a horizontal framework and acceptance of the inherited past is needed – one that redistributes power and resources while fostering collaboration across geographies. Reparational approaches, such as the restitution of looted cultural artifacts and the amplification of voices from the global South, are vital steps in this process. Diasporic-inclusive spaces, supported by intentional funding from state or private sources, can also serve as platforms for cultivating new narratives and challenging the status quo.

Ultimately, the contemporary art world must unpack all the facets of its histories and reimagine its future. In the process of the residency, there was much questioning of the involvement of the many histories that make up the foundational identity of the cultural and artistic landscape in Vienna. Programs like Visiting Critics Vienna demonstrate the potential for progress, but it was inevitable from my vantage point to highlight the work that remains in leveling out the field in terms of inclusivity of gender, Black, and Indigenous narratives. By opening up terms like international, rethinking the work on decoloniality, and fostering horizontal collaborations, the art world can begin to dismantle its entrenched hierarchies. Only by moving through its historical involvement can contemporary art fulfill its promise as a truly universal language – one that values all voices and stories equally. In contrasting these moments in Vienna to the African perspectives, specifically Senegalese, it is critical to bring forth these bold structures of funding, practice, and critical thinking within the use of words like international and contemporary art, and their ties to a view that filters the experiences of Black geographies and gender inclusion when sharing an “international perspective.”

This is a love letter to the diasporic umbrella of women, Black bodies, and Indigenous communities living in cities like Vienna. May their voices, vital to driving change and affirming existence within the contemporary art realm, continue to echo louder in the discourse of cultural politics. These conversations must confront the significant imbalance of power in conveying stories and practices. They must also honor the ongoing efforts to share heritages and traditions – whether passed down through generations or rediscovered through personal journeys of wonder and search – illuminating our existence and reclaiming our power in this world.

This review was produced in the context of the residency program Visiting Critics Vienna 2024 organized by Vienna based arts and cultural organisation Verein K.

Filly Gueye is a Senegalese-American curator and cultural strategist whose work focuses on the exploration of Black identities, diasporic narratives and the processes of cultural preservation. She is based in Dakar and serves as a programme curator at RAW Material Company. Her curatorial practice is centred on research-based storytelling and accompanying artists through exhibitions, research and discourse, with a focus on artistic practices engaged with themes of identity, belonging, and socio-cultural critique. Filly has produced commissioned texts, including pieces for the 39th Hyères International Festival at the Villa Noailles, for Atelier Ndokette Collective, and artist Djibril Drame, among many others. Filly’s attendance at forums such as Princeton University’ symposium organized by Tina Campt and Tavia Nyong’o, her moderation of the panel “How Do Museums Interact with Communities” for the EDI Global Forum (Naples, Italy), and her participation in round tables at the 1-54 Contemporary African Art Fair (Marrakesh) demonstrate her dedication to developing her curatorial practice and critics eye. Her involvement in programmes such as the Verein K Visiting Critics initiative in Vienna serves to reinforce her dedication to promoting critical discourse on art, cultural politics, and identity across Black geographies and their diaspora.


[1] Visiting Critics Vienna is a residency program for four established international art critics. It is the seventh edition of the program, organised by the Vienna-based association Verein K in cooperation with the Austrian chapter of AICA, the International Association of Art Critics.

[2] Verein K is an independent organisation with a focus on projects that critically engage with contemporary art and culture based in Vienna. It was founded in 2017 by three people who share a belief in critical discourse and the aim of making contemporary art and criticism more inclusive while maintaining high quality standards.

[3] Buysse, Delphine, in collaboration with Mame Farma Fall. “Intersecting Trajectories and Funding Paradigm Shifts in the Cultural Sector: A Perspective from Dakar.” OnCurating, no. 58, March 2024, pp. 71-80.

[4] Koyo Kouoh is the Executive Director and Chief Curator at The Zeitz Museum of Contemporary Art Africa (Zeitz MOCAA) since May 2019. Prior to the Zeitz MOCAA appointment, Koyo was the founding Artistic Director of RAW Material Company.

[5]Laboratoire Agit’Art was first formed in the early 1970s by artist Issa Samb, filmmaker Djibril Diop Mambéty, painter El Hadji Sy, and playwright Youssoupha Dione. Laboratoire Agit’Art was an interdisciplinary collective devising street performances, improvisational happenings, installations and workshops. Although diverse in their practice, they were united in critiquing and challenging the prevailing négritude philosophy in Senegal. TATE. Laboratoire Agit’Art | Tate. Online.

[6] CISSOKHO, By Aboubacar Demba. Issa Samb “Joe Ouakam”, artiste intégral – Contemporary And. Online. 6 February 2020.

[7] RAW MATERIAL COMPANY, 2024. Condition Report 5: A Sense of Place/Displacement – Announcements – e-flux. Online. 5 October 2024.

[8] AUSTRIAN ASSOCIATION OF WOMEN ARTISTS (VBKÖ), 2024. Archival Sites of Speculation: Storying the Silence – VBKÖ – Vereinigung bildender Künstlerinnen Österreichs. Austrian Association of Women Artists (VBKÖ). Online. January 2024.

[9] In its sixteen years of existence, the gallery festival Curated by has developed into a central and indispensable event for contemporary art in Vienna, which – supported by selected Vienna-based galleries – has become an international showcase for the city. The focus on content through the annual theme, the international orientation through the choice of curators and artists, the unusual format as a festival, and the collaborative shoulder-to-shoulder approach of the galleries make Curated by a unique contemporary art project with international reach.

[10] Dr. Noit Banai (Columbia University, PhD) is an art historian and critic who specializes in modern and contemporary art with a focus on conditions of migration, exile, diaspora, border-regimes and statelessness in a trans-cultural and trans-disciplinary perspective that challenges traditional geographical limitations and disciplinary boundaries.

[11] With participation from galleries, collectives, spaces, initiatives and other entities, the primary goal is to unite professional cultural practitioners, artistic spaces, or economically self-sufficient entities that operate year-round, actively producing contemporary art content in Dakar and its surrounding areas.

[12] Architecture of Necessity by Ernesto Oroza. 2006. About – http://architectureofnecessity.com/about/

[13] blaxTARLINES KUMASI is an experimental incubator of contemporary art and sharing community based at the Department of Painting and Sculpture at KNUST in Kumasi, Ghana. It has a lineage of radical art and community projects since the 1990s.