This article of the South African art critic Athi Mongezeleli is a “solidarity criticism” in what appears to be an interesting public provocation about the state or economies of the South African visual arts industry. He reacts on an article of the art historian and curator Thembinkosi Goniwe in the newspaper Main and Guardian.
The Kampala Biennial 2018 was not a normal one.
Curator Simon Njami chose to introduce a system that could make the contemporary artist. Since he is convinced that Kampala does not have contemporary artists worth showing–off to the world, he invited seven internationally acclaimed and foreign artists to train young artists from the city. Designated ‘masters’ and their students ‘apprentices’, they were tasked to pass on their precious knowledge to the young ones in a ten-day intensive studio workshop session for each of them. Within that context, the title of the biennial, The Studio, made sense.
Matt Kayem talks about the relevance of this year’s Kampala Biennial.
As powerful and impactful as Williams’ work was at the time – and as successful as he was as a solo artist – it is in relation to his work and service within the CAM that we can appreciate the movement as an act of political and social change. Through the members own creative talents CAM drove for a better representation of Caribbean life, art and community. Outwardly it reflected the culture of the time; it rebelled against white supremacy in Britain, brought its own flavour from back home and together sought to merge the two – much like the ethos of the Notting Hill Carnival.
Christabel Johanson about Aubrey Williams and the Caribbean Artists Movement
Sun Hieroglyph, 1983, ©Aubrey Williams Estate. Photo: Jonathan Greet
Nitegeka’s exhibitions make the audience conscious of the exhibition space; the audience member comes to form part of the exhibition this way. (…)Perception in a Nitegeka exhibition is significant to the extent that its extension related the audience member to the physical malleability of the gallery space.
Themba Tsotsi on the work of Burundi born, Johannesburg based Serge Alain Nitegeka (1983)
Colour and Form. LXXII, 2018
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