ABSTRACT

As curators, museums, galleries and collectors grapple with the meaning of ‘African Art', and as a younger generation of African artists produce an ever more complex expression of what it means to be African, Tamar Garb and Hlonipha Mokoena set out some of the ways in which they have participated in projects that trouble and extend the meaning of the African archive. Ranging in scope from photography to style to dress and to the problem of fakes, the conversation does not assume that the keywords and concepts currently used to write and think about the African archive have been exhausted. Instead, the starting point is that our vocabulary for naming and labelling African photographs should necessarily expand in preparation for the images that are yet to be produced or yet to be found. Without limiting themselves to just the ethnographic and historical photographs, the interlocutors venture into the world of contemporary African photography and the ways in which even contemporary photographers are appropriating the past in order to think through their practice in the present.

摘要

随着策展人，博物馆，美术馆和收藏家对“非洲艺术”的含义的争执，以及年轻一代的非洲艺术家对非洲的含义越来越复杂地表达，塔玛·加尔布（Tamar Garb）和赫洛尼法·莫科纳（Hlonipha Mokoena）提出了一些他们以何种方式参与了困扰和扩展非洲档案馆含义的项目。讨论范围从摄影到样式到服装到假货问题，都没有假定当前用于撰写和思考非洲档案馆的关键字和概念已经用尽。取而代之的是，我们的命名和标签非洲照片的词汇必须扩展，以准备尚未生产或尚未发现的图像。