EVC
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‘Gender’ in Transcultural Perspectives
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EVC and Sustainable Development
Working Documents
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Guideline for contributions
Call for Contributions
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The Power of Traditional Painting in China
Decolonising art curricula in UK
A German Perspective
Transcultural Art Education in Germany
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Virtual Collective Memory Exhibition 2022
Light Soup, Kumasi, Ghana 2021
Priscilla's studio, Kumasi, Ghana 2021
Munich, Germany 2021: BACK COUPLING
Museum Fünf Kontinente 2021: Perspectives from Ghana
Douala 2020: COLLECTIVE & NATIONAL MEMORY
documenta
EVC
Mission Statement
Partners
Authors
Patronage
Funding
Newsletter
Objects
Lab
‘Gender’ in Transcultural Perspectives
What is an 'Object'?
World Maps - World Views
CONTENT
EVC and Sustainable Development
Working Documents
Definitions (in German)
Interesting Links
Guideline for contributions
Call for Contributions
EDU
The Power of Traditional Painting in China
Decolonising art curricula in UK
A German Perspective
Transcultural Art Education in Germany
Activities
News
Archive
Publications
Galleries
Virtual Collective Memory Exhibition 2022
Light Soup, Kumasi, Ghana 2021
Priscilla's studio, Kumasi, Ghana 2021
Munich, Germany 2021: BACK COUPLING
Museum Fünf Kontinente 2021: Perspectives from Ghana
Douala 2020: COLLECTIVE & NATIONAL MEMORY
documenta
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The Akan Colour Reference Scheme
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Selfie #FeesMustFall
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Kente Cloth
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Little Mermaid
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Arts Education and the Sustainability of Bansuwe Dance in Nigeria
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El Anatsui, Rising Sea
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Two Cities -Two Economies
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Ibeji Twin Figures of the Yoruba
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Along the Trade Lines
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Historical and Sociocultural Relevance of Royal ‘Ahenema’ Sandals in Asante Culture
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Muslim Cupolas on a Christian Church in Germany?
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Social Inclusiveness, Gender Equity, Quality Education in a School Crest
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The "Blue Rider Post"
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Vincent Akwete Kofi’s ‘Crucifix’
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The National Theatre Building of Ghana
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The Adinkra interpretations for the Sustainable Development Goals
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Conflicting Tensions in Decolonising Proscribed Afrocentric Hair Beauty Culture Standards in Ghanaian Senior High Schools
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A German bowl inscribed in Africa
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FUNTUMFUNEFU
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The Case of Ndop Royal Fabric
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Chinese Style Porcelain
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Dansinkran Hairstyle
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Yinka Shonibare CBE (RA), Mrs Pinckney and the Emancipated Birds of South Carolina
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Djaoulérou
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The Nefertiti-Hack
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Footprints on the Ocean Beach
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Tragic Magic Carpets
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William Kentridge, The refusal of time
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The Reunification Monument
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Logo University Yaounde
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Decolonizing Self
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In Praise of ‘Ghana Freedom’
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Searching for a New South African Identity
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Rorke’s Drift Pottery
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KOMA TERRACOTTA FIGURINES
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The Day Rhodes Fell
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Senzeni Mthwakazi Marasela, Waiting for Gebane
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Paradiesgärtlein: Little Garden of Paradise
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Ingolole: The Circumcision Mask of the Tiriki People
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Titus Matiyane World Map
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Building Social Cohesion through Sport
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Stowe Landscape Gardens
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Moulding Tradition
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Barbie - Sacred Beauty Queens on Afro-Cuban Altars
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Red Ghanaian Soil
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Hans Haacke: Der Bevölkerung
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The "Monumento al Doge Giovanni Pesaro"
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Painted Barbershop Panel
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Walker Evans: Questioning the Canon
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The Akuaba Doll / Ritual Fertility Doll
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Giriama Vigango - An East African Perspective
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Vilakazi Street: Experiencing Soweto and Mandela House
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Persian Pictorial Carpets
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Linguist Staff
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Luo Traditional Stool “Kom Nyaluo"
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Left Behind - Land after Mineral Extraction
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Michael Armitage: Baboon (on view in the Exhibition "Paradise Edict"at Haus der Kunst Munich, 2020/21)
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Hong Kong State Theatre
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Christine de Pizan
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Man Ray, Noire et Blanche
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Senzeni Marasela: Covering Sarah I-V
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South African Struggle: T-Shirts as Sites of Resistance
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Remember Marikana
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Uche Okeke, Christ / Untitled (?), 1961
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(A) Male Ruler in European History: The Example of Louis XIV of France
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The Outfit of a Saltner
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Statue of a Pregnant Woman
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Beyond Humanism
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Jacaranda Mimosifolia in full bloom
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Andreas Kuhnlein in Unterwössen
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The Veranda Post
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Broken Utopia and the Return of Humanity
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Yongli Tang, Dream of Dunhuang
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Figurative Coffin "Nike Trainer (Size 42)", by Paa Joe
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Adinkra Symbols in Ghana
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Mandela Statue
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South African Flag
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Katsushika Hokusai, "Nami-ura" (The Backside of the Wave)
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How Public are Public Statues?
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Decoloniality and nomad bodies: Diane Victor’s Perpetrator I.
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