❌Paid Opportunity: Curatorial Project Assistant, Culture Art Society (CAS)❌ We are looking for someone to work closely with us who has the following essential skills and experience: -Experience supporting the organising of exhibitions and public programmes -Research and writing experience -Good administration and multitasking skills -Good IT skills, proficient use of Photoshop and Sketch Up or InDesign -Well organised -Passionate interest in curating + African and black diasporic visual arts/cultural productions - Familiar with Culture Art Society (CAS)’s research + work Must be Copenhagen-based and fluent in English. We anticipate it will involve a 2 days week commitment or a block within an agreed timeframe. Please send CV and a brief letter of interest to: [email protected] 📌Closing date: 09/08/2021 Warmest, Team CAS #CASarchive #phillipkwameapagya

Kassena (Gurunsi) architecture in Tiébélé, Burkina Faso ©Rita Willaert #CASarchive

Untitled, 1960, Benin ©Joseph Moïse Agbodjelou #CASarchive

Studio photographs taken at ‘Arous el RImal’ Studio (1970s) in El Obeid, Sudan by photographer Mohamed Yahia Issa ©Mohamed Yahia Issa & El Nour Archive #CASarchive

We are devastated by the news that dearest Menelik Shabazz has transitioned. Black (British) cinema has truly lost a champion. The generosity of Menelik’s cinematic eye and the care extended to his community through his oeuvre is so profound. It was telling the full breath, complexities and beauty of black lives. We had in been touch with Menelik only a few months ago to curate a screening programme of his films and will work towards completing this endeavour. Thank you Menelik for your work, principled stance and unwavering support to champion black cultural workers. I. the filmmaker (left) and a friend in front of Grass Roots Storefront - a bookshop that was part of the Black Liberation Front( BLF, 1971-1993) - a Pan-Africanist and socialist organisation that advocated extensively for black communities across the UK through education, employment and housing programmes and much more. © Shabazz’s personal archive II. The filmmaker at Festac '77, also known as the Second World Black and African Festival of Arts and Culture held in Lagos, Nigeria in 1977. ©Festac Archive 77 (@festac77archive ) #CASarchive #MenelikShabazz

Malian photographer Seydou Keïta instructing a sitter and talking about photography as a form of memory-making that he loves in ‘Souvenirs de Seydou Keïta’ (1998) ©Brigitte Cornard #CASarchive #seydoukeita #africanphotography

Image from ‘Au Village’ (2011) - a collection of colour photographs taken in Soloba the village of Malian photographer Malick Sidibé in 1970. ©Malick Sidibé & Editions de l'oeil #CASarchive

Christian Lattier (1925–1978) was a renowned Ivorian sculptor who migrated to Paris in 1935 gaining acclaim for his distinct use of wires and strings to create abstract large-scale sculptures. This technique was influenced by traditional weaving techniques of the southern coastal city Grand Lahou where the artist was from. Whilst in Europe Lattier continued to exhibit until returning to Ivory Coast in 1962 where he taught sculpture at École Nationale des Beaux-Arts in Abidjan. This image of the artist amongst his works was taken shortly after his participation in ‘African Gods: An exhibition’ held at the Galerie Des Beaux-Arts in Paris in 1959. ©Robert Doisneau #CASarchive

Filmmmaker Djibril Diop Mambéty and his film crew on the set of Touki Bouki (1973). On the front left is Mambèty’s long-time collaborator Georges Bracher who was the cinematographer for both ‘Touki Bouki’ and ‘Contras City’ (1963) which was his directorial debut at age 23. Dakar, 1972 ©Maya Bracher #CASarchive

❌Statement on cancellation of our collaboration with Barbican❌ Dear CAS friends, Following the Barbican Stories (@barbicanstories ) which have come to light, we have since reflected on whether to go ahead with our scheduled collaboration with Barbican that was programmed for today 15 June at 6:20 pm (BST). This has now been cancelled on our founder’s request. As you all know, part of CAS’s curatorial methodology is to facilitate radically different approaches to institutional and audience engagements to African artistic and cultural productions. Core to this is a centering of decolonial paradigms to bring into focus the critiques, theory, and practices of cultural workers of African descent. This includes Sidney Sokhona whose film 'Nationalité: Immigré' (1975) profoundly articulates a critique of the systemic discrepancies that widely and deliberately structure the lives of communities who in turn become marginalised. Our programme relates timely to the issues that have come to light at the institution, thus as always calls for a careful consideration of our curatorial duty to reflect on both the context and space of which we are bringing our work wider into. As a black woman led platform that is fully committed to equality and has a public presence premised on decolonial thought we extend our sincerest solidarity to the workers who have shared their stories and those who have yet to. Best wishes, Team CAS

Happy birthday to James Barnor who celebrates his 92nd journey around the sun today! 🥳🎊 Our founder Awa Konaté is so honoured to have co-curated James’ retrospective at Serpentine. Do make sure to pay the North Gallery a visit or two to see ‘James Barnor: Accra/London - A Retrospective’ (until 22 October 2021) - the photographer’s largest exhibition to date with over 200 works on display. And keep an eye on @serpentineuk for a series of offline and online programmes in honour of James’ work and legacy. @jamesbarnorarchives @lizziect5 @hansulrichobrist @bettinakorek @clementinedelaferonniere Image: James Barnor, Medway College of Art, 1960-1963 ©James Barnor / Galerie Clémentine de la Féronnière #CASarchive #ForeverYoung

Actress, singer and lead star of ‘Black Orpheus’ Marpessa Dawn recording her samba video in Dakar during The First World Festival of Black Arts held in 1966 ©Sergio Borelli #CASarchive