Kode88

What began as an intended dialogue between Angolan artist Sandra Poulson and South African artist of Angolan heritage, Helena Uambembe, evolved into a reflection on the nature of self-censorship by the latter. Both artists are concerned with the idea of the archive, what it is, and who authors it, addressing the gaps in the way the history of Angolans has been represented both in Angola and other parts of southern Africa.

A project conceived by Damián Ortega and Bree Zucker, TITAN was an outdoor exhibition in a series of phone booths located in New York City, presented by Mexico and US based gallery kurimanzutto. The project enabled twelve voices to take over the outer panels of twelve phone kiosks. In what the organisers termed a “collective exhibition”, this intervention took place in the last life of these booths prior to their planned removal by the city, and during one of the most tumultuous presidential election and post-election periods in US history.

The 56th International Art Exhibition in Venice, titled All The World’s Futures has been variously remembered as one of the most conceptual or political editions of what is considered the world’s principal biennale. Some critics have pointed to the exhibition’s ostensible “darkness”, others have celebrated its exploration of what they termed the “global periphery”.

Under the Same Sun: Art from Latin America Today, forming part of the Guggenheim UBS MAP Global Art Initiative, presented a nuanced reconsideration of contemporary art in Latin America. According to curator Pablo León de la Barra, this extensive show aimed to present “a diversity of creative responses to a rich cultural context shaped by colonialism, civil conflict, economic crisis, social inequality, and repression – as well as by intervals of growth and the emergence of parallel modernities”.