SAVVY # 4

Contributors in this issue deliberate on current curatorial theories and practices in the framework of Contemporary African Art, wherein ideologies and philosophies, sciences and economics, ethics and aesthetics of the curatorial practice and the semantics of exhibition making are elaborated upon, and framed around questions like:

What are the prominent issues of display and curating that inform and condition exhibition-making? What is the understanding of authorship in this context? What is the relationship, point of intersection and repulsion between artistic and curatorial practice as instigators of meaning in an exhibition context? How does the curator serve as power broker between society, artists, institutions, community, politicians and financiers? Is there a cognizable methodology in curating Contemporary African Art exhibitions with regard to Western or non-Western curators?