This episode was recorded live at e-flux on September 19, 2024. The event, hosted by the&nbsp;African Film Institute,&nbsp;featured a screening of&nbsp;Lumumba&nbsp;(2000, 115 minutes)&nbsp;by Haitian director&nbsp;Raoul Peck,&nbsp;followed&nbsp;by a conversation between&nbsp;Feza Kayungu Ramazani&nbsp;of Centre D’art Waza and anthropologist&nbsp;Natacha Nsabimana.&nbsp; Feza Kayungu Ramazani&nbsp;is an artist and researcher based in Lubumbashi. She is a member of the Power to the Commons project and Another Roadmap of Arts Education Africa Cluster (ARAC), which is a network of researchers and practitioners engaged in collaborative research revisiting the history, politics, and alternative practices in arts education through literature. She is also curatorial assistant at École du soir, administrator of Centre d’art Waza, and a critical writer questioning images of African beauty and exoticism. Her research on African values, creativity, ancestral practices, and technology aligns with a desire to reinvent the conception and conservative function of museums in the Democratic Republic of Congo. Natacha Nsabimana&nbsp;teaches in the anthropology department at the university of Chicago. Her research and teaching interests include postcolonial critique, musical movements, and the cultural and political worlds of African peoples on the continent and in the diaspora. The&nbsp; aims to create a home and a place of intimacy with African cinema in New York, through developing gradually and organically a viewing program animated by fellowships; a growing library; an active writers’ room; and an expanding catalog of recorded dialogs. The African Film Institute draws from the visual cultures that view cinema as an evening school: a popular information system in the service of education, aesthetic experience, and public dissemination—employing a methodology concerning the use of cinema’s collective production, and investing in viewing methods informed by different uses of time, visual and textual histories, and social struggles and hopes in mutuality between their own locality and the world at large. The African Film Institute is convened by Christian Nyampeta and hosted by e-flux Screening Room.

African Film Institute: Feza Kayungu Ramazani on Lumumba and Centre d’art Waza

To Build Law

Bâtir des lois

This conversation between curators Ebony L. Haynes, Thomas (T.) Jean Lax, and K.O. Nnamdie was initiated alongside an essay series in e-flux journal titled “After Okwui Enwezor,” edited by Serubiri Moses.&nbsp; The episode begins with three short audio excerpts from&nbsp;[1]&nbsp;&nbsp;&nbsp;[2]&nbsp;&nbsp;[3]&nbsp; Exhibitions covered include: Postwar: Art Between the Pacific and the Atlantic, 1945–1965 (2016) and the 56th Venice Biennale: All the World's Futures (2015). Additionally, the idea of rigorous curating, and the horizon is explored in discussion of recent exhibitions including Judson Dance Theater: The Work is Never Done (2018) at MoMA, and Invisible Man (2017) featuring Jessica Vaughan, Kayode Ojo, Torkwase Dyson and Pope L. at Martos Gallery, and Evil N*gger (2025) featuring Glenn Ligon and Julius Eastman at 52 Walker.&nbsp;&nbsp; The “” series in e-flux journal reflects on the resounding presence of the late writer, curator, and theoretician. Along with a focus on his many innovative concepts like the “postcolonial constellation,” the series presents a wide evaluation of Enwezor’s curatorial and theoretical practice following other similar initiatives, such as the special issue on Enwezor by the journal he founded, Nka Journal of Contemporary African Art. Moving beyond tributes and biography, this series covers topics such as the relevance of Enwezor’s approach to politics, the limits of the exhibition as a form for critique, his conception of modernity and writing on the contemporary, his nomadic epistemology, accounts of his biennials in Seville, Paris, and Venice as institutional critique, and the specific contribution of non-Western artists in the art world.  is the curator and Senior Director at , a David Zwirner gallery space presenting longer format exhibitions with primarily conceptual and research-based artists.  is a curator of media and performance at New York's Museum of Modern Art, where he has co-organized Judson Dance Theater: The Work is Never Done (2018), Just Above Midtown: Changing Spaces (2022) and Ceremonies Out of the Air: Ralph Lemon (2024) among others. Thomas began his career at the Studio Museum in Harlem, where he contributed to the landmark “f show” contemporary art series in 2012 and put together When The Stars Begin To Fall: Imagination and the American South in 2014.  is an artist, writer, curator, and art advisor. Nnamdie ran , a curatorial project between 2018 and 2025 based on their interest in the intersection between hospitality and the arts. Nnamdie also directed anonymous gallery between 2021 and 2024.&nbsp;&nbsp;

“After Okwui Enwezor”: Ebony L. Haynes, T. Lax, K.O. Nnamdie

e-flux Education editor Juliana Halpert talks to Coleman Collins. Collins is an interdisciplinary artist, writer, and researcher whose work explores notions of diaspora in relation to technological methods of transmission, translation, copying, and reiteration. His most recent projects examine the connections between things-in-the-world and their digital approximations, paying particular attention to the ways in which real and virtual spaces are socially produced. Working across sculpture, video, photography, and text, Collins' practice attempts to locate a synthesis between seemingly opposed terms: subject and object; object and image; original and duplicate; freedom and captivity. &nbsp;  is a 2025 Guggenheim Fellow. He has also received support from the Graham Foundation for Advanced Studies in the Fine Arts, the New York Foundation for the Arts, and Cafe Royal Cultural Foundation. He received an MFA from UCLA in 2018, and was a 2017 resident at the Skowhegan School for Painting and Sculpture. In 2019, he participated in the Whitney Museum’s Independent Study Program.&nbsp; Recent exhibitions and screenings have taken place at&nbsp;, New York; Ehrlich Steinberg, Los Angeles; Herald Street, London; Soldes, Los Angeles; the Palestine Festival of Literature, Jerusalem/Ramallah; Larder, Los Angeles; Hesse Flatow, New York; Brief Histories, New York; Carré d’Art, Nîmes; and the Kunsthalle Wien in Vienna. His work is in the permanent collection of the Hammer Museum, Los Angeles. He is currently an Assistant Professor of Art at the University of California, Irvine. He lives and works in Los Angeles.

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Coleman Collins on The Upper Room and Specular Fiction

Espaces oscillants

Oscillating Spaces

Editor Brian Kuan Wood talks to Evan Calder Williams about his e-flux journal essay series, “On Paralysis.” Recorded in May 2025 before the launch of e-flux journal issue #152, the conversation discusses stoppage, sabotage, disability, delay, and damage, as well as the critical tools the “On Paralysis” series finds in the hidden intimacies between limited movement and expressive power.&nbsp; Read all four installments of the series here: , , , and .&nbsp; &nbsp; Paralysis has become a term and idea inseparable from contemporary understandings of subjectivity, infrastructure, politics, and war. Conjuring associations of indecision, physical immobility, and trauma, it names a breakdown of the normal processes of circulation and information that promise systemwide health and seamless flow. But what if the very smoothness of these circuits of production is precisely what debilitates human bodies and broader systems of relay and exchange? And what are the potentials for refusal and unexpected agency that can be found in the interval when nothing works like it's supposed to? Evan Calder Williams is an associate professor at the Center for Curatorial Studies for Bard College, where he also teaches in the Human Rights program. He is the author of the books Combined and Uneven Apocalypse; Roman Letters; Shard Cinema; and, forthcoming with Sternberg Press, Inhuman Resources. He is the translator, with David Fernbach, of Mario Mieli’s Towards a Gay Communism and is a Contributing Editor to e-flux journal, as well as a former member of the editorial collective of Viewpoint Magazine.

Evan Calder Williams: On Paralysis

With an Acre - Audio-Introduction

Avec la forêt

Le CCA est un centre international de recherche et un musée avec la conviction que l’architecture est d’intérêt public. / The CCA is an international cultural and research centre built to promote research and innovation.