James Mishio

Collectors and philanthropists Jorge M. Pérez and Darlene Pérez have donated 36 artworks by African and African diaspora artists to the Tate. The major gift underscores institutions’ increasing commitment to diversifying their collections and elevating underrepresented voices.Collectors and philanthropists Jorge M. Pérez and Darlene Pérez have donated 36 artworks by African and African diaspora artists to the Tate. The major gift underscores institutions’ increasing commitment to diversifying their collections and elevating underrepresented voices.

Afrikanizm Art, the Luso‑Angolan platform for contemporary African and Afro‑diasporic art, has formalised partnerships with galleries in the United States, Europe, Africa, and Asia. These alliances will integrate gallery networks with Afrikanizm’s digital platform, amplify artists’ reach, and support collaborative exhibitions. It's a bold step in positioning Black art not on the margins, but at the centre of the global art market.

Afrikanizm Art launches a resale feature for collectors, enabling artworks previously acquired on the platform to be resold with curatorial support. This move opens a new chapter in the African contemporary art ecosystem — connecting collecting with long-term value creation.

Cape Verdean artist Amadeo Carvalho has been invited to lead a painting workshop at King’s College London, highlighting the global resonance of Lusophone African visual storytelling.

Across Africa and the diaspora, women artists are redefining contemporary art with purpose and power. Using muralism, performance, digital media, and sculpture, they reclaim visibility, challenge colonial narratives, and shape new spaces for identity and resistance. These five rising artists are not just voices to watch — they are rewriting art history from the inside out.

Abidjan is experiencing a vibrant artistic renaissance, fuelled by new galleries, residencies and state funding. A “new wave” of artists — from Carl-Edouard Keïta’s revival of Goumbé traditions to Mimi Brignon’s urban collages, Adjoba Marie’s surrealist self-portraits, Massa-Chula’s powerful mask reinterpretations, and Angelo N’Guessan’s street murals — is reshaping Ivory Coast’s cultural identity. Together, they place Abidjan at the forefront of Contemporary African Art and the global conversation on Black Art.

At the heart of Dakar, a quiet but radical transformation is underway. Dr El Hadji Malick Ndiaye, curator of the Théodore Monod Museum of African Art, is leading a profound effort to decolonise an institution built for colonisers. Through critical reinterpretation, artistic collaboration, and cultural activism, he is reframing the museum not as a place of frozen pasts, but as a living, breathing space of African knowledge, pride, and imagination.