issue 236

Founded by Ibrahim Mahama, Red Clay, Savannah Centre For Contemporary Art and Nkrumah Volini offer space for interrogation and artistic change by repurposing Ghana’s history

One of the longest running art institutions in Ghana, founded in 2006, thrives by building networks between artists and the local community

The gallery, based in Accra and London, aims to connect local and international artists amidst a critical and commercial surge of interest in Ghana

By basing themselves outside of Accra, Nuku Studio provides space and time for Ghanaian and international photographers to develop their craft

All-female parties, discos for listening and the Saudi histories of the dancefloor

Works from the poet’s forthcoming book Listen to the Golden Boomerang Return take on a life of their own

Using gay print magazines, the artist makes collages that imagine intersectional queer communities

The artworks of Remedios Varo, Louise Bourgeois, Mat Collishaw and Rut Blees Luxemburg offer a portrait of the artists' sleepless nights

The DJ and writer shares a selection of his favourite electronic music tracks that help him contemplate the ‘slipperiness of time’

The DJ and writer experiments with electronic music and rethinks the meaning of a ‘sonic archive’ upon discovering tapes at the National Institute of Design

The artist and theorist share their thoughts on their intellectual work of interrogating legacies of slavery and anti-Black violence

The poet and critic Simone White considers the artist’s formative work Mirror Mirror (1987–88)

In anticipation of the artist’s forthcoming book to be published in 2024 with Dia Art Foundation, frieze presents an extract of Nengudi’s exuberant prose

On the centenary of the photographer’s birth, an outtake of his iconic portrait of William Casby, a self-conscious image captured alongside five generations of his family

With major shows at MCA, Chicago and Hauser & Wirth London, the artist assesses his past, present and future

Despite good intentions, a polyvocal exhibition at MACAAL, Marrakesh, reaffirms the Malagasy artist as the star of the show

Featuring a quintet of Italian artists, a group show at Mai 36, Zurich, makes the case for more unsettled and uncomfortable aesthetic forms

For her first solo show dedicated to ceramics, the artist creates a mosaic of free-wheeling motifs from rudimentary forms

At Arario Gallery, Seoul, new and reformulated installations and photographs by the artist track the non-meaning generated by financial markets

A major retrospective of the artist’s hard-to-define work evidences her shapeshifting nature