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On Images yet to be Seen

A Cameroonian case study

One evening, last November, I was sitting at a bar in Yaounde, unwinding after a workshop I had given to a group of Cameroonian art critics. The place was empty, partly because it was a weekday and also because at the time Cameroon was hosting the 2016 Africa Women Cup of Nations. A band was playing well-known reggae tunes. A couple of meters from me, a mute television screen set on a news channel alternately showed images of football matches and scenes of violence taking place in the western part of country.

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