a full hail the planet interrogates while i was thinking about climate change, the way we do this, a global issue is abstract, so whatever i do, it doesn't seem to make a dent. alley re reveals how with being and it created into distancing also from the climate crisis and delaying meaningful action. as faculty reactions have been both intentionally and unintentionally quite a few ideas to create confusions. if we're confused with the power of psychology in blocking climate action on out to 0, the recently the car hosted its safety be, you know, of contemporary african art. the origin of african arts stretches far beyond recorded history or the continents oldest known beads crafted

from the serious shells or worn as personal ornaments. more than 72000 years. evidence of complex paint making dates back a 100000 years. the across alfred rock preserves carvings that tells the story of life thousands of years ago. yes, for centuries, africa's artistic and cultural legacy has been misrepresent. as european explorers reached the west african coast, they encountered sophisticated and traditional sculptures, text types, and ceremonial objects. each with its own distinct, social, and spiritual importance. but instead of seeing them as high art

europeans dismiss them, placing them outside the western definition of art. colonialism reinforced this distortion. in the 19th century, african arts was often called primitive western institutions and collectors, reduced its significance to anthropological pieces rather than legitimate artistic expression. but by the early 20th century, a shift began art historians such as karl einstein and leo for menus. we just find african art as an aesthetic and intellectual tradition. meanwhile, europe in moderns, like go get, be guessing,

and my teeth were inspired by its bold forms and a raw emotional power. integrating african influence is into their own revolutionary style. despite this new found recognition, african artists largely remains on the margins of the global arts but disaster conditions gained independence. in the mid 20th century arts began reclaiming their narrative using their work to explore seeds of national identity, post colonial struggles and the economic realities of their confidence. in this edition of talked to al jazeera, we meet 3 women at the forefront of contemporary applicant, part dynamic,

diverse, and increasingly recognized globally as artist on the content and in the diaspora shaping the new dialogue on history resilience and the future. the because it's the culture. ringback but as contemporary african arts, narrative shifts, sending goals when we jo, has played an important role as art critic and specialist, deeply engaged in west africa's modern arts. she has focused on bridging the gap between african artist and the global markets. but how does the world perceive african art today? is it truly understood and valued on its own terms? let me tell you are a contemporary art specialist. thank you for talking to al jazeera for inside the

gallery, where there were a lot of pieces here of contemporary african art. and all of it has been sold that tell us what's going on. but it seems to be a real kind of driver, real excitement around african contemporary arts. there's definitely a, a driver we can see why that is. that's a, that's a given. in this case, it's a very unique perspective because it was more like of a story of a collector and an artist. the collector who started collecting because of disorders. so 30 years ago just had the go for this, the artist called the for the come, the hall was a very well known artist and, and uh, basically he wanted to celebrate the fact that african people could collect arts. so that's a, that's new for us. that we have something that is obvious that even african corporations can say,

we want to buy our artist and support them. and on top of that, there is a historical theme that was also into the 6th edition. was to pay tribute to the, to hi, you've seen to get a so that you're saying there were those from west africa that spot to liberate your absolute tea. and those portraits of was like represented in this galaxy. and the fact that the new president has also a visit with getting out of the account for the 1st time. we see the president really watching and looking at the arts really brought those so uh, you know, this uh oh no, to buy uh, arts, even more a and you were saying that there was a lot of people collecting or even african corporations or companies that are collecting art, is this a businesses as it is, but it goes beyond that i think um, i think deeper, more proud of who they are. they are more trying to um supports

their peers to support ours. and the com is a celebration city of art. so i think we, there's definitely a trigger that is operating currently and i think people are no longer afraid to say i loved the side as i just want to buy this piece and have it show it to the family. so on the market, it seems that a contemporary african, our jump from $16000000000.00 a year to $40000000000.00 and you hear me. those are extraordinary numbers. but are these conservative numbers because is all art being sold out there, made public. and is this an informal market? is it, how does it work? how does it operate for the continents? i think we can not rely on western numbers because the westerners have their way of working. of course everything is documented. it's just the way it

is. but in africa again, we don't have that gallery, the tier system of gallery collector's institution, that is so well put together. so you will have a large potential of numbers are not visible because it happens beats sometimes in a small activity or in a home of enough to use uh, oranges or friends of going to see friends of friends and friends. and they just buy and there's no way you can track that. so i think we have to be careful with the numbers that we give you. i would say maybe there is more maybe 3 times more. who knows? but the good news is, we're part of the conversation. what are people attracted to in african contemporary, right? what is it that is taking the buyer? we're live, we are a lot kind of freaking art is a live. it's like when you look at the origin, this,

this is something that i can speak for myself because, you know, when i write about the artist or an artwork. i photograph it 1st and do something that's going on in african arts. and almost like the mistake of the heritage of secular or military. uh, years of ancestry, you can detect that. and i think that's what also triggered because so because of we said he was in front of uh, uh, some mask. uh the easy the thing. but it's not that he looked at it, he was inspired because the liveliness of the artwork just go straight to your bones and all of a sudden magic happened. and i think that's really what makes us very different from every contemporary art in history. i was extremely happy to see that there is one, a african american man whose name is dr. logan, who owns an institution called a 10 north. and he owns a lot of space in miami,

in what we call a palo. com, which is the city born in the 20s, out of offensive c, f, a billionaire who decided to create the 1001 nights the world with architecture that reminds us of mosque and moorish. and this gentleman has decided to put 7 exemption of the black arts, fantastic arts that tells me that we need to pay more attention. well, one of the thing exemption into north that i saw at the me a buzz in it was the see the key. who is the book enough? i saw us culture who was one of the most hypothetical to today uh, in the continents and who also delivered to the govern most. and they got denied your host culture in bronze in chance. he did this exemption re present the older master in the european museum. and just that's the, that's the reaction of the people. the collectors that came to me because it was

part of the program of outlets and show in miami. were triggered by the fact that to say, oh my god, we never saw a mass there is stolen and re presented in western museum and to print it into bronze body and the masked in pure bronze, usually the master during woods. so this is another art, is that he's influencing people to consider another form of buying arts, even though the topic is still very crucial, which is restitution a. so i think collectors regardless or pay attention, are they buying would they're suppose to buy in term of numbers? i say no, but this still we still, we should not be in a hurry because things are organically happening and i think that's the best way to preserve the contemporary arts. so in order to avoid, to, to go up and then crush right away. at the end of the day, i will part of the world and suits in conversation the touch,

the westerners or the people for major or the people for middle east or in america on the teen. america will so touched by those realities. arts is just magic. what are we wanting or not? but i feel like african art as something even more special because all the heritage, the answers trees, messaging goes through the hands of the artist. and you can feel as sometimes in some african arts for artists in the african diaspora. the question of identity is often challenging what their work does not only address the present, but also navigates a painful history. the forced displacement of their ancestors through the transatlantic slave trade. the ayana jackson is an african american photographer and filmmaker who brings this past into

sharp focus to her work. mom. in her latest video installation, she called journey of a deep sea dweller. she traces the journey of those taken from africa. imagining their stories lost beneath the waves, especially those of the women wintered to brood across through her art. jackson builds a bridge between africa and its diaspora honoring their memory. while moving forward. you know, as the, as the translator slave trade, you know, as a black american, black us, american, there's a, there's a quite a tension around, you know, who we are, and our story and the multiple nationalities that make up our blood. right. and so, and when you're, you know, this kind of feeling of the confident as the home,

you know, is also it's helpful. and it's the help of so many generations. but then as you begin to engage with africa, you vincent gaze with the multiplicity of the complexity of the country, of the countries that are here. and so, you know, and sometimes it can feel a little bit alienating to be in the diaspora because you're kind of outside and inside at the same time. so and this is like, this equating a incredible and so this is eviction of mommy wants out a water spirit. right? actually we're actually looking right now as a candidate and a and a work that's based on key on the. and john doesn't allow me watch the from angola, the word money want to is use a lot in the francophone countries here. but now, um, but then some who might be familiar with the euro, but nigerian pantheon they might have heard of again my or, or soon. and the idea is that different bodies of, you know,

it's an animal concepts, right? that, that different bodies of words of water have a spirit in do these water is periods exist in, in the united states? yeah. you have a lot of people's belief systems that, that were brought a lot of, oh, across the atlantic with, with the people. and there was a lot of work that was done to mask it, but beneath the credit and the fist yancey. so we're doing and hazy is an example of that. you know, so they're one of the, the, the resistance of it, like active resistance. and one of the many as to what to keep that. so for me, this is lance, it is our home, the atlantic is where, because these got these people that came, were not yet, they were still african. they were coming from ships that came from the congo that came from gambia that came from, you know,

senegal that came from don us or received that the land take is home for those that do not belong. absolutely, absolutely. and our, and our spirits are there a bodies are, there are physical, decomposed bodies are part of the floor of the site, part of the, the kelp part of every aspect of it. because so many, i mean, you have to have 15000000 bodies. right. and then many millions didn't even make it because of being thrown overboard because of sucking ships, etc. so we are part of the eco system of the, of the sea and the end, particularly that routes that, that route of the slave trade. so it's, it is, it's what, it's what binds us there's, there's a migraine crisis here in san diego with a lot of people dying, trying to make it to, to europe, to spain. and, and so, in this move, in, in bringing dismiss inside this museum. when you're trying to tell us the history

that and the tradition of respecting was the, in the end to see this is the spiritual selves. you know, there's a universe where we are, we are all connected, 5 watts or the all of humanity is connected by water. we must respect the water, the peoples that, that are created, the, the, the mythologies or the, or the gods that, or the spirit that we're talking about. they understood that implicitly. they understood that there is an implicit and is a true connection between our see our water and our bodies. so, you know, to imagine these characters, to imagine our connection in general is what is essential to me. but beyond that, again, i really want us to respect what happens in the middle passage. i want us to remember what happened. and i want us to be able to is to, to keep that, that net via the atlantic ocean between the african experience and the black

taskbar experience. i want to tie this back into the be, you know, where we are to the black civilization museum, but also to visit car be, you know, how important is it for you to have this here right here in the car, senegal, just as a has for you to be able to come to be here. you know, i have friends right now that are at glory islands at the slave dungeon there and at all the dungeons, the ones and gone a minute for me. it was, i mean, of the 1st time at some point you stand at a place that's called the the door of no return. and that doorbell, no return, is a very small door that they would leave the insulated peoples shackled out of the dungeon and onto the sleeping vessels and the doors, the gate of no return, just the word it says you're not meant to return. so to actually come back,

not only to have to, to, to have survived centuries of, of the slave trade because we weren't meant as women to build that country and disappear. i don't know what they would do with us, but you know, to actually be able to come back to the confidence. so then come to come to senegal . and then to exhibit a work like this, from my point of view, as, as, as a, to come home to this it's, i'm not going to cry on your screen. but it's but it's a, it's, it's a serious, long minutes for my, for me, individually and culturally to, to, to be here at all on this plan. but also to have the opportunity to be in conversation with senegalese artist artists from all over the world. the, at the center of this artistic dialogue is the, the car be, you know,

one of africa's most significant cultural and artistic events. more than just an exhibition. it is a platform for exchange where artist, from the continent and beyond converge to redefine the global art landscape solely months. a job is a senegalese to reader, and under her vision the be now highlights how art can serve as both an anchor to the past and a guide to the future. it's the content throughout cnn, so it's really about uh, welcoming. this is a good time for a creative and invite them to express themselves to theme the wake of sorry, much came from the work. can you explain what the weight is for you and what you're trying to evoke in the way it is about us, about waking up in the well,

that's in the crisis, environmental, social and personal. and it came from me, from a thoughts from the cause it's crisis. i came from my reading of the book in the wake by doctor increasing the shop. it's about waking up. it's about the wake of, of the boat of the is it just references the slave trader, it references colonial history. and it's also cool to these road. yes, for us, from everywhere in the wells. and we have here all to is from mexico, from antenna from columbia, from the us. what are you trying to evoke in this call in the artist that you have chosen? i'm trying to call everyone to just to accept that we need the transformation. we need to make a change,

we need to change our direction and the weight will also photo that change of direction. i think out will take you to think about what's happening to all well in another way, then the scientific article will it will actually allow you to, to feel to know how it makes you feel actually makes you feel and to come back to this stuff. so transformation that is necessary before any other transformation. it's interesting that you talk about transformation because as i've understood in this building, you've transformed it. right? you the cluttered this colonial building. what were you trying to do? i was afraid that so, so i think as a crate to this building is a monster. it's like domino. so it's

a huge monster. elaborate as i went into this war with it at 1st, but it became more about actually how to understand it. how to give it also the respect, for instance, in this subject that value i what, what is it called sensitive i panel so so so the room of loss of steps. yes, that's really cool. yeah. so if this was a room where, what would happen then people would just wait, i guess, or i think they were waiting for the trials. it's incredible that you're taking over this colonial building. right, and making it your own, this sense of ownership to feel that there's the same sense among young africans at this moment to try to re appropriate something and what is that?

something that they're trying to it will take time. it will take time. it will take lots of registration and lots of work a because the colonial time was so long as well. and you don't so snap and say you independence site. and we know that we still very much a confronted to a structure that is very colonial. still. i think for instance, who in sent again that is indeed the movement that is ongoing. and i, i hope that this do not because this theme actually give a, a accurate reflection of what's happening for these alters but also for these sites . is these countries that come from, obviously some people would go to contemporary art gallery or museum. you would think it would be not so much people off the streets, but maybe, you know,

highbrows, intellectuals and, and, and the verge was the, it's how did you insure, or are you trying to ensure that, that anyone can have access to it and how it is a difficult task also because of the space and, and this building of this facade and so intimidating. it has been built in all the to be intimidating. and i don't think the architects, this friend shop to architects and the fifty's wanted to this to be a welcoming space where anyone feels they can walk in and be welcome. so the best thing we've done is as great as we decided to show a welcome to the facades selection rate that's willing to actually make the explode

out of the space. and we didn't pick any work. we fixed the delta g now. so you know, you, this from hygiene, we've actually in hawaii, griffin, same height is depth, has heightened history and who's what we, we students who actually made a collective box supposed to work indians and who's also referencing that. the fact that these, these are colonial building insulation building and the fact that the rooms at the feet of her works. i spent a lot of time working on my vision to transform the status. and to actually show case these all to you and you versus to read, it gives them the understanding state is a, there's so much vulnerability it seems in, in a lot of the art that we're seeing. if you have any message to give to know just

people who are from after care being dissent or african, anybody who has this sense of not belonging, right? if this is something that you're, so you're kind of tapping into what message, what you have to though is that are trying to find a place to express their art being and not this is already belonging to a very special family. well, sometimes people will create the site that the, there is less rationality or that things are less built, easy to understand the well actually i think the people of the most reasonable and the most sensible because the senses and so we motion the always just more precise more impactful and in the truth, in some way deliberate in their yes and their approach. so this do then. um, it's,

uh, it's not enough. we can do that. it's not even a pen after can do then. it says international being at the, from the car to the diaspora around the world past to present an into imagined future's contemporary. african art continues to evolve challenging perceptions, reclaiming narratives and shaping your identities. the, the latest news as it breaks, viola did not accept still no problems planned, hoping international physician for perhaps 47 to look at the whole tentative with

detailed coverage focused on your drive, your credit that monthly and ask them for protection during charles that the, the lines of communication remain secure from around the world facing doesn't want an extended trade was that it is ready for once. we can now cause more damage to the us economy and it did during trumps. first time. shake model was for translation and international understanding is inviting nominations for its 11th edition starting january the fast and ending march the 31st 2025 for more information. please visit the awards official website at w w. w dot h t a dot q a connecting community. what would you like to see happen for a new syria to emerge? there's no way we could nip into country again. where is i see it is for

displacement is part of our presence. opening up the conversation representation methods, we haven't had the best representation of african. so for us it's about solving that putting to representation for our kids with fresh perspectives from lesser heard voices. the stream explores the key issues of our time on algebra. the of america's top diplomats, as in saudi arabia, told, with russian officials on ending the war and you crying with caves as nothing. vices, green and brown ukraine will not participate. ukraine knew nothing about the crane assess as any negotiations, but ukraine without ukraine. that's happening. no results the,

until mccrae this is they'll just hear a lot from time. so coming up your family. this hold their own emergencies.