Emotion is a significant force in Landvreugd’s art. And of course, it helps if you know something of the artist’s background and if you take an interest in the public debate on colonialism and racism in the Netherlands. Landvreugd seems to want to combine knowledge and emotion. By doing so, he creates space for the possibility of insight beyond the personal and the anecdotal.
Yah, the present day African is still suffering from the effects of the Berlin Conference and they still need to be reminded that they were great before that happened, that they are beautiful in their skin and that their lands are precious. So I borrow from African history, Buganda traditional culture, black nationalistic teachings and African-American culture/pop-culture.
Art therapy is not just used in Western countries but utilised across the globe. In particular it is a useful tool when language is an issue. The benefits of art therapy are even more vital for vulnerable groups such as the elderly, the young, or refugees. For example many refugees who have escaped persecution from African countries will have harrowing experiences to process. This is why organisations like Kuchinate are helping ease the pain of integration by providing a supportive community for those who are exiled. Many of the women are survivors of rape, abuse, torture or trafficking.
Enthusiast of 24-karat gold or not, what is undeniable is that Lina Iris Viktor’s work provides with food for thought; she graciously interweaves complex aesthetics with conceptual and political commitment.
Most of the artists in this lot are locally consumed and no where on the international art scene. Apart from Sanaa Gateja, the rest wouldn’t be masters in the eyes of Simon Njami. Njami is right and there is a need for Ugandan practitioners to play at the big stage because there isn’t much the industry at home can offer. And also, is technique and aesthetics enough to bestow the title of master on one? What happens to the narrative, the stories around us, the pressing issues around us?