In November this year, a report written by Bénédicte Savoy and Felwine Sarr evaluated the urgent need for restitution of looted African artifacts held in French museums. Commissioned by French President Emmanuel Macron, the 108-page report lays out some steps for the long-awaited restitution. Eric Otieno looks at the major conclusions from the groundbreaking report and comments on positive and negative reactions from European cultural institutions so far. Image: Unvergleichlich: Kunst aus Afrika im Bode-Museum (Beyond Compare: Art from Africa in the Bode-Museum), Installation view © Staatliche Museen zu Berlin / David von Becker

“Because I live here”, an exhibition at the Museum for Modern Art in Frankfurt, places post-migrant German society under the microscope to reveal structural violence. As the first show of its kind to specifically address racism and violence in post-migrant German society, it’s a milestone for contemporary art as far as its pertinent themes are concerned. Image: Installation view of Emeka Ogboh’s, “Sufferhead Original” (Frankfurt edition), 2018, Courtesy Emeka Ogboh. Photo: Axel Schneider

Die Frankfurter Schirn hat mit ihrer Ausstellung “König der Tiere: Wilhelm Kuhnert und das Bild von Afrika” eine Debatte entfacht: Wo bleibt die kritische Einbettung dieses Malers im Gefüge des deutschen Kolonialismus? Die Kritik ist berechtigt, schreibt Eric Otieno in seinem Gastkommentar für Monopol Bild: Wilhelm Kuhnert beim Malen, 9. September 1911, © Nachlass Wilhelm Kuhnert

As 1-54 Contemporary African Art Fair opens today in London’s Somerset House, Eric Otieno explores how the fair provides a new perspective on art from Africa and its diaspora Image: © Larry Achiampong (Copperfield Gallery)

The politics of heritage in South Africa @Mandela100

The artist translates conceptual affirmations of her creative self into the multi-sensory piece and way of thinking, Power to the God Within Image: ©Jojo Abot

As the Berlin Biennale opens its doors, Eric Otieno interrogates one newspaper’s sweeping statement about the apparent diversity of the German art scene.Is art really the new Black? Image: Work by Emma Wolkau Wanambwa at the 10th Berlin Biennale.

During the Manifesta Biennale Hutchinson will present Abeng, an oeuvre in three acts based on sound. Titled after one of his poems from the Far District collection published in 2010, it refers to the sound made by abeng, a cow horn, blown by Maroons. In this work, he interprets ozio as a form of protest against power and the manufactured time of the masters, resonating with writings of Sicilian authors such as Federico de Roberto, Giuseppe Tomasi di Lampedusa, Vitaliano Brancati and Leonardo Sciascia. Image: Ishion Hutschinson at the American Academy in Rome (c) Marco Brunelli/Johanne Affricot

Johannesburg, March 2018.

Libertad 2015. © Eric Otieno

Check Point Sekondi Loco. Installation by Ibrahim Mahama documenta14 – Kassel. Images: Lisa Kolloge

Image: Lisa Kolloge