The Trap of CatchallsSarah JilaniArtReview16 May 2025Baggy terms such as ‘Global South’ and ‘Global Majority’ are useless, because you can’t address what you can’t describe
What Does ‘Contemporary Art’ Mean in Oman?Sarah JilaniArtReview Asia17 April 2025The preexisting parameters for recognising ‘contemporary art’ as opposed to the ‘decorative’ show the unlearning still ahead of us
Malian Filmmaker Souleymane Cissé (1940-2025) Taught Us How to SeeSarah Jilaniartreview.com21 February 2025The incendiary films of the late pioneer of African cinema do not merely critique power but discern the social and political forces at work beneath the surface of the everyday
The African Gaze and an Aesthetics of LiberationSarah JilaniArtReview14 November 2024Amy Sall’s sensitive scholarship offers a refreshing counterpoint to previous attempts to visually record the African continent
What Happens When Looted Artefacts Return Home?Sarah Jilaniartreview.com29 October 2024Mati Diop’s new film ‘Dahomey’ reflects on the many contradictions of the postcolonial condition
The Disordered MuseumSarah JilaniArtReview13 September 2024How to decolonise the Western museum model? Françoise Vergès advocates disordering, decentring and dispersing it
‘Gaza 2035’ Is an Old Colonial Fantasy With a Futuristic SpinSarah Jilaniartreview.com18 June 2024A recent document reveals Israel’s ‘Gaza 2035’ vision, which aims to turn it into a manufacturing hub for the region. We’ve seen this before
