Rwanda’s art scene is young and booming. Multiple art galleries were established in recent years, and visual artists are becoming more exposed to the region, and globe, exhibiting and experiencing residences. Article presents works of two Rwanda’s young artists Iirumva and Dusabe that are leading in shaping the dynamic art scene of Kigali.
I write and make art from a black perspective because I think it’s needed and it makes me feel like I own my stories. I feel like it’s beautiful, it’s resistant and it’s powerful.
John Jennings in conversation with Christabel Johanson
Mickanah. Black Kirby Series, 2015 Read more »
The theme – Get Up Stand Up – is so strong and would have been explored to its depth. Owing to the fact that the host country Uganda is going through a political conundrum with a president who’s been leading for the last 35 years, suffocating a lot of freedoms, manipulating state institutions to his favor and spearheading a shameless corrupt government. It was timely and on spot to have such a theme for such a biennale where we should have seen Ugandan artists tackle the appalling political situation in their country.
Matt Kayem on the Kampala Art Biennale
Logo Kampala Art Biennale 2020 Read more »
The Rhodes School of Art exclusively teaches Fine Art and not commercial art practice. It’s not a problem at all, it just prompted me to ask why that is and there was the subsequent revelation of fine art being regarded as “high art” traditionally and commercial art being reduced down to a skill. There’s an obvious art historical problem that has separated the two and given higher value to one over the other and so I sought to create room for where the two could be made distinct without placing greater value on one.
Barnabas Ticha Muvhuti in conversation with Wynona Mutisi
“Harare Map”, 2020, Digital Map Illustration, 1550px X 981px.
Serge Attukwei Clottey is attracting well-deserved attention for his striking installation The Wishing Well, created for the edition of Desert X 2021, in Coachella Valley, California. Composed of two large cubes covered in yellow plastic, the installation draws on Clottey’s signature use of cut-up plastic jerrycans, derisively known as Kufuor Gallons in his home country of Ghana