Screening of Straub-Huillet’s Class Relations, with a talk by Annett Busch
Screening and discussion: Louis Henderson, Keith Sanborn, Liam Gillick and Anton Vidokle, and Rosalind Nashashibi
If modern Eurocentric history remains dominant in contemporary art discourse, what happens to the available theory and criticism of contemporary African art? At present, accounts of contemporary African art appear in a growing collection of critical, curatorial, and artist writing. How do these narratives, opinions, and polemics inform the critical review of African art practices? Further, in a pervasively Eurocentric setting, an atmosphere in which Western critics look at African art as illegitimate, how can a theory of South African art encourage an alternative reception of contemporary African art practices in general?