Articles in the Artwork critiques Category
Artwork critiques, Issue 030 Mar '13, Visual Art »
“This exhibition at Umoja Art Gallery in Kamwokya was Mugalu’s clear and heartfelt contribution to a day some people love to love and others love to hate: Valentine’s Day. The reason why some people love to hate the day is not hard to fathom. It’s the high expectations and demands that lovers place on each other which are rarely meant. … This is why Mugalu’s message was all the more relevant.” Elizabeth Namakula reviews.
Artwork critiques, Issue 029 Feb '13, Visual Art »
He takes no less than four months to conceive and develop an idea in his head, a process he refers to as mental sketching. It takes him a minimum of another four weeks to actualize the idea on canvas to his satisfaction. Meet Godfrey Banadda, a second-generation modern artist that has led a distinguished career in painting, exploring a diversity of themes that essentially question the mysteries of nature and culture.
Artwork critiques, Issue 029 Feb '13, Music »
“What I like about Afrotopia is the assertively used indigenous instruments like the akogo, the nanga and the tube fiddle. When I compare Afrotopia, though, to another Ugandan album; Sipping From the River Nile by Tshila from 2008; it falls short. In this album by Tshila, being very similar in style to Afrotopia, the wealth of syncopation, rhythm and sound is consistent within every individual song. This quality is especially lacking in Afrotopia.” Pamela Acaye reviews.
Artwork critiques, Issue 029 Feb '13, Music »
“Serena swimming pool area was the venue for this unlikely musical pairing, Pragmo and Lillian Mbabazi, even though as it turned out, they were not so different after all. The deemed lights, sound of the waterfall and even that of the frogs formed the perfect background for a quiet night out and a premonition of the style of music to expect: Jazz and soul.” Elizabeth Namakula reviews.
In this third and final part of a three-part essay, Angelo Kakende reviews the recent Nude 2012-exhibition at FasFas: “Nudes 2012 was different from Nude 2000, Nude 2001… It was mobilised with local resources and initiatives. This created the burden of the need to sell and recover costs. In my opinion, it is this economic incentive which affected the positions the artists took while. They treaded carefully avoiding the risk of offending anyone.”
Many artists will gush at the opportunity of participating in a group exhibition, especially when it is held in a non-traditional art space like a hotel or an open space. The excitement comes from the fact that they are going to make a good killing with their art. Unfortunately, many times the artists compromise a lot on quality—often the work is not good enough—and as such it affects the whole idea of creativity, competence and innovation.
Artwork critiques, Film, Issue 028 Jan '13 »
Artwork critiques, Issue 028 Jan '13, Music »
Iwaya reviews the latest Murica Kirya-album “The Book of Kirya” for startjournal.org. “More than anything else, Book of Kirya is about helping others. If Misubbaawa was about lighting the candle, Book is about demonstrating to the whole world of onlookers that the light has not gone out. It is still shinning, bringing light, and if you bring your light, like Kirya is trying, like in Mulembe gwa Kirya, this light can become a fire, a blaze, an unstoppable inferno.”
Artwork critiques, Issue 028 Jan '13, Literature »
The Lantern Meet of Poets is made up of mostly university students who share one thing in common. They were born in the 1980’s—at the time when the National Resistance Army (NRA), now the National Resistance Movement (NRM), allegedly liberated this country from bad governance. During this first themed recital and performance, they sounded out their splintered voices from within the revolution. The writing, though familiarly presented, managed to achieve a simmering hyper-realism in the audience.
In this second part of a three-part essay, Angelo Kakende reviews many of the paintings depicted in Nude 2000 and Nude 2001: “In summing up, Nude 2001 grew from the success of Nude 2000; the two shows had a common agenda of mystifying the naked body. I however submit that that is not what is should be remembered for. In my opinion, it should be remembered for providing an occasion of the artists to explore the nude for art and for purposes of contributing to socio-political discussions in the country.”
Artwork critiques, Issue 027 Dec '12, Visual Art »
The Uganda Press Photo Award (UPPA) ceremony, held November 8th, gave a unique platform to tell a multitude of stories through photographs, in doing so changing the role of photojournalism to both viewers and participants. Serubiri Moses reviews the exhibition and writes about the practice of photojournalism.
The 3rd Dance Transmissions Festival (DTF) 2012 began in earnest with a flashmob of dancers who were new to contemporary dance as the opening act. It was a chance for new entrants to the genre to get an experience of what it means to be a contemporary dancer. Samuel Lutaaya, a dancer and choreographer himself, reviews DTF ’12 for startjournal.org, and explains why some pieces worked while other failed.
In this first part of a three-part essay, Angelo Kakende relates the recent Nude 2012-exhibition at FasFas to former Nude 2000 and Nude 2001-exhibitions held at Nommo Gallery. He looks beyond the claim for the aesthetic appeal, and attends two ways in which the production and circulation of the nude in contemporary Ugandan art in general and nude exhibitions in particular fuses the line between aesthetics and pornography; art and non-art.
Artwork critiques, Issue 026 Nov '12, Visual Art »
“It had never occurred to me that setting up twelve shipping containers across the city could account for a festival, but it certainly did when the shipping containers were translated into art exhibition points. This was the Kampala Contemporary Art Festival dubbed ‘12 artists, 12 locations’ and it ran from 7th-14th October with a theme ‘12 Boxes Moving’.” Elizabeth Namakula reviews.
Artwork critiques, Issue 026 Nov '12, Music »
“Through the systematic collection and display of culture, the Milege band managed to create an integrated multiculturally diverse experience for both foreigners and native Ugandans. It beckoned to the feeling that music is truly the space of multiculturalism, that does not have neither race, class nor tribe as guide posts. Nawany is a representation of that multiculturally integrated Uganda to come.” Serubiri Moses reviews for startjournal.
With the exception of the Laba! Arts festival, there are not so many festivals on the Ugandan calendar. So Bayimba gave us a feel of what a festival should be like. In the words of its Director Faisal Kiwewa, “Celebrating the feeling of belonging and experiencing the freedom of culturality.” And while at it, celebrate culture in all its diversity, so it seemed. Elizabeth Namakula reviews the Bayimba.
Fun Factory visited the Bayimba Festival for the first time, and their debut was one of the most anticipated shows. The group performed to thunderous laughter and applause. To celebrate Uganda’s Golden Jubilee, Fun Factory will also stage 50 skits across two nights called “50 years of madness”. Elizabeth Namakula reviews.
“Throughout the narrative, are weaved metaphors in the form of rain—which ironically pours outside for the duration of the play—rivers tying each scene to the next, like a powerful memory.” A review of The River and the Mountain, a play written by Beau Hopkins, directed and executive produced by Angella Emurwon and produced by David Cecil of Tilapia Culture, by Serubiri Moses.
Artwork critiques, Issue 024 Sep '12, Visual Art »
“Having attended the same university and only separated by a handful of years; having exhibited in nearly the same galleries and influenced by the same patronage system, this pair comes across as archetypal artistic bedfellows. They seem to have suckled from the same breast of contemporary art awareness and their styles are scarcely singular.” Nathan Kiwere reviews Daudimzili for Startjournal.
Artwork critiques, Issue 023 Aug '12, Visual Art »
Is it Art or Wolokoso? was the theme of Ronex’s art exhibition of 10 Years, questioning a fundamental theory that Ugandans do not “get” art. By the end of the four staged exhibits in four galleries, each two weeks apart, several of the showgoers agreed gleefully that what they had experienced was indeed, art. Serubiri Moses reviews for Startjournal.