The Tate Modern Gallery in London has an exhibition of photography on display which challenges our Western view of art works. With a focus on photography and African photographers it is complementary to the many other photo exhibitions. We have a world in common, says the title of the exhibition. The images, however, reveal another vision of African photographers. Other perspectives on beauty, architecture and the distribution of wealth and waste across the world becomes explicit. Beyond the documentary effect of a lively African scene of photography and past colonialism the forward-looking vision of African photographers is also evident. Colours and Imagination of a unique kind allow us to look beyond the current state of affairs. Rising from the ashes and western waste the colours of Africa will prevail.
Only through the force to imagine a different trajectory for the continent we shall eventually be able to see new flowers blooming.
Positive images have to be put in front of the “negativity bias” in Western media when reporting about African countries. The light, the sun, the sea and coast lines, all can contribute to the rise of Africa in various ways. The photographers in the Tate exhibition demonstrate an impressive power to go beyond the day-to-day topics.
Broadening our scope of visuals with more images from Africa certainly are fist steps to enlarge the spectrum of photography and art. A chance to browse through the catalogue allows to go back from time to time to counter our usual stereotypes. (Image taken from Tate catalogue A world in common, 2023 Muluneh Aida 2018 p. 202-3).
Kunstsammlung
Viele Kunstsammlungen in der westlich dominierten Kunstwelt haben nicht nur ein Übermaß an Beständen von Männern gegenüber von Frauen, sondern ein noch größeres Gefälle zwischen westlichen Kunstschaffenden und Kunstschaffende globaleren Ursprungs. Die Kunstsammlung Nordrhein-Westfalen versucht in 2023, diesem Bias zu begegnen. Die Preisträgein des K21 Global Art Award an die Südafrikanerin Senzeni Mthwakazi Marasela (Image unten aus der Ausstellung K21) steht für starke Frauen, die mittels der Kunst, Geschichte und Geschichten erzählen und damit dokumentieren. Wir brauchen viele dieser Stimmen.
Der Kunstkalender 2023 bringt zudem über den Jahreswechsel hinaus „Isaac Julien“ in die Kunsthallen in Düsseldorf mit seinen beeindruckenden Filminstallationen. Immer unter dem Thema der Gleichberechtigung sind seine Werke eine unablässige Hinterfragung der von uns, der Gesellschaft, produzierten und sich ständig reproduzierenden feinen Unterschiede. „What freedom is for me”, so der Untertitel der Ausstellung, erlaubt den Perspektivenwechsel und, sich die Bedeutung des Freiheitsstrebens der „People of Colour“ zu vergegenwärtigen. Jenseits der Freiheit, als Abwesenheit von Unterdrückung, Angst und Ausbeutung ist Freiheit etwas zu tun, zu denken, sich auszudrücken die Nagelprobe auch der Gleichberechtigung. Unsere großen Ausstellungshäuser und Sammlungen sind sich ihrer Verantwortung bewusst geworden. Manche Museen erwachen gerade erst aus den Schrecken, die sie in ihren Sammlungen vorfinden. Im Interesse der Freiheit und Gleichberechtigung erwächst den öffentlichen Institutionen dabei eine Verantwortung, die immer schon da war, aber erst in den letzten Jahren intensiver angegangen wird.
Jede Sammlung ist selektiv, sonst wäre es wohl keine Sammlung. Den Waffen- und Trophäensammlungen der letzten Jahrhunderte müssen wir heutzutage Sammlungen hinzufügen, die neue Möglichkeitsräume erschließen und Empowerment befördern. Los, sammeln wir. 
Senzeni Mthwakazi Marasela 2023 K21clipvideo
Hunger
The UN strategic development goals (SDGs) list after the eradication of hunger as number 2 no hunger by the year 2030. Following the report of FAO, the UN 🇺🇳 organization in charge of nutrition in a larger sense, the world is moving further away from reaching this goal in the 4 last years. The Covid-19 pandemic had disrupted supply chains and caused higher prices for basic ingredients. The poorest countries were most vulnerable to such price increases when even in the rich world government deficits were rising sharply. Before sufficient relief arrived Russia’s war in Ukraine destroyed crops, interrupted again supply chains from Ukraine to many of the poorest nations. Energy prices are a substantial part in the production of fertilizers for agricultural products. Same story Russia disrupted the whole supply chains for food production at affordable prices for the poorest parts of the world. Additionally, Indian food production was lower due to the drought, Pakistan had extreme flooding. Both countries are important export nations for feeding the world. Continuing climate change is likely to put global food production under additional pressure. Price rises will hit the poorest again and again. Feeding animals with crops that could otherwise alleviate hunger in other parts of the world puts the rich world’s consumption patterns also into the spotlight. Fighting global hunger is largely a question of how wealthy nations deal with nutrition. The struggle to fight obesity and hunger under the joint concern of malnutrition unites all parts of the world. Time to act together on both topics.
Indigo Waves
„Indigo“ is an almost mystical colour. Its deep blue nature refers to profoundness and in combination with oceans to a surprisingly still largely unexplored world of biodiversity. Additionally, in association with endlessly forthcoming and retreating waves, indigo reveals its many possible shades. Oceans separate or link continents and it is this feature of Oceans which is explored in the exposition “Indigo Waves and Other Stories” (Gropiusbau). Beyond our all to common focus on the transatlantic relationships, “Indigo Waves” explores the links between the African and Asian continents. Embarking on a new narrative for the Afrasian Sea, i.e. the Indian Ocean, we are taken to new horizons through the continuous challenge to our value systems, comprehension of art, poetry or culture more generally. The exposition, through multiple challenges, succeeds in displacing us into the context of other perspectives. Following Oscar Murillo, imagine to view the water roses from Claude Monet (Les Nymphéas) from below the surface. What do you expect? In Europe? Near a barrier reef in the Indian Ocean? Beauty is often not visible at first sight, yet it is co-determined by the currents that build and potentially destroy it (compare photo from exhibition below). The balance of social ecosystems is easily messed-up just like the beauty of ecosystems in nature. “Indigo Waves and other stories” tells us other versions of the colonial stories most of our history books told us for centuries. It is an eye-opening exposition, but probably not the way we expect. Following a poem towards the end of the exhibition by Tishani Doshi “Do not go out in the storm”, we are drawn into the ambiguity of our existence irrespective of the continent of origin. Jack Beng-Thi preserves a poem from Jean Joseph Rabearivelo in his artistic book creation and installation to bring to light “indigo waves”. “vos yeux clignotent dans l’azur, et je les appelle : étoiles. ” (Translated suggestion: “your eyes blink in the blue sky, and I call them: stars). 