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@anoghana
Billed erroneously in a local Ugandan newspaper as Africa’s first contemporary art biennale, the Kampala Art Biennale opened on 1 August showing mostly paintings of 45 artists from 13 African…
"This desire to attract foreign buyers had the most unfortunate consequences in the following decade: Ugandan art quickly became simplistic, colorful, and exotic for the tourist market.”
Neocolonialism is passed on culturally, through the cinema. And that’s why African cinema is being controlled from Paris, London, Lisbon, Rome, and even America. And that’s why we see almost exclusively the worst French, American, and Italian films. Cinema from the beginning has worked to destroy the native African culture and the myths of our heroes. A lot of films have been made about Africa, but they are stories of European and American invaders with Africa serving as a decor.
Ousmane Sembène
Bousso Dramé is a young Senegalese woman who recently won a French language competition organized by the French Institute of Senegal. She was awarded a return flight ticket to Paris and a training …
What compromises should or will be made for the sake of realizing art? If there is disrespect for your body and your being, where or why is there respect for your art? Dramé is a writer and a lover of the French language, as a Senegalese woman, how does that play into the politics of this article? How does it relate to the translation or ownership of language we are exploring?
Excited to have gotten funding for the online platform of my Pan-African Cultural Encyclopaedia from LACMA in LA!
Everyone who knows me has heard me talking about this project for years. I’ve already started with Ghana, looking into how histories have been passed down, delving into supposed silences and amnesias, collecting oral histories, old photographs, contextualising objects, original material, and the online platform goes live very soon!
OTHER GESTURES : PRACTICING HERITAGE
Saturday June 13 from 10.30am to 7pm
With Lotte Arndt (theory professor at École d’art et design in Valence), Marian Nur Goni(historian), Nana Oforiatta-Ayim (writer and historian), Franck Ogou (archivist, head of programs at Ecole du Patrimoine Africain), Zineb Sedira (artist), Ashok Sukumaran (artist), Françoise Vergès (political scientist) and Emma Wolukau-Wanambwa (artist).
Other Gestures gives voice to artists, researchers, collectives and institutions who question the modalities of collecting, preserving, circulating and activating archival and heritage materials, notably through digitalization.
Cultural Encyclopaedia II
Cultural Encyclopaedia II
The Cultural Encyclopaedia aims in no way to be definitive, but rather heuristic, a starting point, and will eventually span 54 volumes to represent the countries of Africa. The first one, Ghana, is in progress, and the workshop will bring together its editors to discuss process and methodologies, as well as to connect them with the editors of the next Encyclopaedia, Senegal, putting in place a network, or stream of moving knowledge.
Cultural Encyclopaedia I
Cultural Encyclopaedia I
Inspired by some of the historical ways of passing down knowledge, particularly the Adae ceremonies of the Akan, in which youths were able to learn from their elders. The structure of the Cultural Encyclopaedia is such that researchers gather and document material (articles, essays, books, theses etc.) in a number of subject areas ranging from Art and Archaeology to Maths, Science and Economics, which form the cultural foundations of a country. The editors, accomplished, emerging specialists in their fields, make selections from the database of material published online for the printed versions; with the editorial guidance of recognised and well-established authorities.
Cultural Encyclopaedia
The exhibition takes place for the inaugural workshop of the long-term Cultural Encyclopaedia Project. Frustrated by the context within which our work was received, either too simply or erroneously complicated, I conceived of the Cultural Encyclopaedia as a means of providing a wider spectrum, of taking back control of our own narratives. Both digitally and in print form, the Cultural Encyclopaedia will be a space of information, innovation, discovery and depth.
Ibrahim Mahama
Ibrahim Mahama
Ibrahim Mahama masks market places, railway bridges, museums with commonplace jute cloth, repurposed sacks used first for cocoa and then charcoal, renders the familiar unfamiliar, so that unconsciously perhaps we begin to see things as we might not have before.
Elisabeth Efua Sutherland
Elisabeth Efua Sutherland
In Elisabeth Efua Sutherland’s experimental play Dreamscape, masked dancing figures traverse six worlds, following through the premise of what happens if the abstract, in the shape of our fears, is made real.
Serge Attukwei Clottey
Serge Attukwei Clottey
Serge Attukwei Clottey uses sculpture and his theatre group Golokal to explore one of the concrete purposes of masquerade, the peformative retelling and passing down of history, to delve into the stories of his own personal provenance as well as more collective ones, adding his own embellishments and marks so that though the essence comes through, each time it is constituted anew.