Critique of Africa Remix: Curatorial Challenges and Conceptual Reflections

Africa Remix, despite its ambitious scope and significant artworks, faced pointed criticism for its curatorial approach and conceptual framework.

Curatorial 'Straitjacket' and Conceptual Ambiguities

1. Critique of Curatorial Approach: The exhibition was likened to a commercial gallery or an art fair, criticized for a curatorial 'straitjacket' that Rory Bester and others felt failed to counteract stereotypical images. This narrow or random categorization of artworks raised concerns about reinforcing, rather than challenging, existing stereotypes.

2. Contradictory Statements by Njami: Simon Njami's statements in the catalogue intended to celebrate the continent's diversity were seen as generalizing, undermining the exhibition's conceptual strength. Critics argued that his language inadvertently reinforced the conceptual weaknesses of the show.

3. Ambiguity of the Title: The exhibition’s title, particularly the term *remix*, promised a fresh perspective that critics like David Brodie felt was not delivered. The expectation was for 'critical conjunctions' that would create a progressive narrative, which they argued was absent.

Logistical and Infrastructural Issues

1. Presentation at Johannesburg Art Gallery (JAG): The JAG's presentation of the exhibition was seen as overwhelming, with the multitude of artworks creating a chaotic market-like atmosphere rather than a coherent narrative. This abundance at JAG hindered the justice owed to individual works.

2. Infrastructure’s Role: Rory Bester highlighted the importance of infrastructure in hosting such large-scale exhibitions. The presentation of *Africa Remix* on the continent brought to light the need for robust infrastructure to support such endeavors.

Relevance and Impact

Despite these critiques, Africa Remix was pivotal for several reasons:

1. Significance of Continental Presentation: The exhibition's presentation in Africa, particularly at JAG, was a crucial step. It brought a major show on African art to the continent, fostering local engagement and discourse.

2. Window and Mirror on 'Africa': As Colin Richards noted, the exhibition served as both a window and mirror on Africa, stimulating debates and reviews in Johannesburg and beyond.

3. Pluralistic Engagement: Steve Nelson acknowledged the variety of websites and catalogues for the exhibition’s different venues, enabling diverse interactions with Njami’s concept and African art presentation.

4. Redefining Exhibition ROLES: The show highlighted the need for a shift in perspective – moving from exhibitions conceived in Europe and brought to Africa to ones designed in Africa and presented in Europe.