By Martha Kazungu. In August 2016, during a meeting where I was invited to be part of the team to share ideas on how to re-establish and run the Start Art journal, artist Margaret Nagawa, who is also the pioneering person in the effort to revamp Start Art Journal, suggested to me to develop a short narrative essay talking about my role as Curatorial Assistant in the 2016 Kampala Art Biennale.
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Author: start
By Philip Balimunsi. This article summaries the experience of audiences to the Dads exhibition and their general response collected through comments. Further still the article seeks to analyse the exhibition development process and the reaction of viewers in relation to the topic of positive masculinity. Providing a platform to future festival visual conversations, the photography exhibition idea was developed between Bayimba International Festival of the arts and the Swedish Embassy in Kampala to contribute to the greater festival conversation of 2016.
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This paper presents the practical processes of remodeling and using a kiln in the Ceramics studio at the Margaret Trowell School of Industrial and Fine arts, Makerere University in Kampala, Uganda. The effectiveness of a kiln is dependent on its design, ability to preserve heat by minimizing heat loss, and the capacity to be economical with fuel. The kiln in the ceramics department used waste oil for firing. During my postgraduate studies spanning 5 years in Japan, I studied and worked with wood kilns – building them and firing in them. Upon returning to Uganda in 2015 with this experience, I was able to identify some of the problems associated with Makerere Art School’s waste oil fired kiln and its hardships.
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The transFORM #1 Contemporary Art Experience is happening this Saturday 5th December at a warehouse behind the Nakumatt in Bukoto. The event, which is organised in partnership with the Goethe Zentrum Kampala, is widely advertised in the media as an art experience with exhibition and after party with South African DJs. Startjournal met with the organiser Daudi Karungi to find out what was the rational behind the event.
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Jackie Karuti was born in Nairobi, Kenya, and has in recent years gained positive attention for her experimental, conceptual work using new media. She explores themes of death, sexuality, identity, space and urban culture using installation, video and performance art
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The Circle Modern and Contemporary East African Auction follows the lead and success of London based Bonhams and Nigeria based Arthouse Contemporary auctions which have staged regular art auctions in a bid to build the emerging African art market. The
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By Samuel Kiwanuka The Kampala contemporary art scene is increasingly becoming exciting. Artists’ niche to experiment and innovate with new media now facilitates them to convey different forms of visual narratives to their audiences through interaction with the artwork. By
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What happens to Fanon’s followers during liberation? In what condition is Fanon’s nativism when revolution gives birth to independence from the terror of colonialism? How does Fanon translate to the cultural and economic development of present day Africa? Serubiri Moses turns to Eria Solomon Nsubuga’s recent exhibition for answers.
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Emma Wolukau: The Another Roadmap Africa Cluster are a group of scholars and practitioners of artistic and cultural education, working across the African continent, who have come together to pursue a joint programme of research into arts educational practice in Africa that is critically informed and grounded in historical analysis. The group’s aim is to produce and to share knowledge about and through artistic and cultural education in Africa, and to make this knowledge available both across the continent and worldwide.
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The next big story in the Uganda contemporary art scene could be the duplicating of the painting, the thinker, by Edward Waddimba. The thinker (1993) is a series of paintings composed of a stoic human figure squatting with a hunched back with its right elbow almost supporting its right chin to create an impression of someone in a pensive mood. This painting originally painted by, Fabian Kamulu Mpagi, one of the masters of modern and contemporary art in Uganda, was duplicated in 2008 by Waddimba his former protégé.
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“It was at the beginning of the millennium, just before I went for my PhD that I started seriously painting,” Kyeyune narrated in an interview with the writer. In this time, he pursued painting in order to realise himself as an artist. However, like many others faced with the reality of living as an artist, he created more to sell than he created for himself. He confessed that his past exhibitions were not usually pre-meditated, but rather he was approached by gallery managers and owners to present his work regardless of whether or not the collection was cohesive.
“Quiet Dignity” was his escape from this trap. It was a planned exhibition toward which he worked with two goals: to present his findings on the use of modelling wax created from locally available materials and to re-launch himself into studio practice where he could create, not for a client, but for himself.
“Art does not solve problems, but makes us aware of their existence,” sculptor Magdalena Abakanowicz has once said. Arts education, on the other hand, does solve problems. Society needs people with skills to think creatively, innovate and to become critical thinkers and learners ready to solve everyday challenges. It is this understanding that has inspired Afriart Gallery to add an Art Education department to their existing scope of work.
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The Exhibition titled Bags that opened recently at Afriart gallery in Kampala is a continuation of the innovation, participation and interaction. The artist showcases bags in both small and big sizes with artworks emblazoned on their faces. Some of the images are abstract while others are semi-abstract with human figures and familiar motifs like the pair of fish wedged on canvas, the miniature human face parallel to the miniature standing human figure and the now popular KLA motif.
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At the launch of Another Roadmap Africa Cluster, at Nagenda International Academy of Art and Design (NIAAD) on 25th July 2015, some of the panelists choose to address the audience in Luganda, a local language in Uganda. The initial impression on the invited guests that included academics, artists, art managers and writers was of confusion and awkwardness.
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Constructions, is bound into community practice and collaboration within a framework of socially engaged and participatory art and temporary practice. The culmination is a hybrid between exhibition, public installation and event created to reflect everyday contexts.
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This year’s LaBa! celebrating its 9th year aimed to create visions for the future reflecting on the past and the present. Can such a complex process of creation be done during a festival?
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Rampant implies something wild and unchecked, without restrain. It is often used to describe something unwelcome. Rampant Contemporary Kampala is not an aimed criticism at the unchecked growth of Kampala city; it is more of a series of impressions about the city.
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Nonetheless I chastised him for having not increased on the size of his format since we last met. I also wondered why he had not moved away from typical imagery of women plaiting hair, boda-boda cyclists, bare landscapes and birds which have dominated his work since the 80s.He was quick to point out that his work style had been shaped by his days in self exile.
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Artists and politics What is the relationship between artists and politics? Is this a subject they include in their art? Fred Mutebi’s exhibition, Queens Forever, showing at Afriart gallery, Kampala is a metaphor to the present political climate in
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“All the time, whenever I would go to paint, there was this thing in me. I think the energy in the paintings would show there is some bit of soul-searching,” he said to me, drawing back his arms behind his head in a thoughtful pose. There it was. The spirit of Melancholy.
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