Wednesday, 19 Jun 2024
Category: Uncategorized

Hassanein Hiridjee: French-Malagasy collector and Patron Fondation H

“Fondation H is a living space, where thoughts, emotions and creativity are made possible.” – Q&A with Hassanein Hiridjee: Patron Fondation H

Following the recent grand opening of its new art space in Antananarivo, START Journal interviews Fondation H’s president, Hassanein Hiridjee, who stands as a key Contemporary Art practitioner on the continent today, with a keen interest in his unique individual

19_08_09_HALL07_akniste_vandenbrekel- Transdisciplinary Regenerative Encounter


Open Call: Transdisciplinary Regenerative Encounter Residency Uganda (TRERU)

Initiated by he Dutch-Belgian art collective TAAT, the Transdisciplinary Regenerative Encounter Residency Uganda (TRERU) focusses on regenerative, creative development and artistic commoning. Three artist/designers from the fields of theatre/performance, contemporary art and architecture/design are invited to stay and work for one month at our location in Ntinda, Kampala.


Inspired by Western Modern Art

Eria Sane Nsubuga an academic at Christian University Mukono in the department of Fine Arts, says that referring to the work of others shows an awareness of self and others. “It is therefore natural given the residual western political and educational set up for African artists to refer to the work of the European masters that we saw in the Art History books. Incidentally those same books as a matter of design more than accident, said nothing about our own indigenous art.” he quotes in his essay, ‘Dead men tell no tales’.



Artists are continuously searching for inspiration for their art. Ideas often tend to be situated within their locale i.e personal experience, studio space, galleries, museums, workshops and artists residences. Yet there is another source of inspiration for many contemporary African artists: Western modern art.
An exhibition, Head, by Ugandan conceptual artist, Henry Mzili Mujunga at Afriart gallery, Kampala in 2014, showcased different connotation of the Head. The artist figuratively alluded to the vessel of knowledge and intelligence as dick head and spatter head. His technique of employing a monochrome palette of powder paint and infusing the tradition and the contemporary evoked Oliver Cromwell’s drawings of the head on spike. The 18th century painter used the drawings to symbolize the anarchical behavior of the aristocrats in Europe. In the same manner, Mzili paintings of the head, mocks and satirizes the despotic nature of African regimes and the West’s plot to re-colonized Africa.
Christ at Golgotha a famous painting by Romare Bearden (1945) was adopted by Eria Sane Nsubuga. Sane’s acrylic painting of the same subject matter, was based on his deep-seated Christian faith and an affinity to link Western modern Art with Contemporary African art.
While several artists both on the local and continent art scene continue to be inspired by works of Western modernist artists, how does this affect their artistry? Does it dilute or concretize it? What audience are they appealing to in pursuing this trend? Isn’t this a form of elitism that propagates stereotypes in art appreciation?
The article will critique this artistic trend and give answers to these questions using the voice of prominent art scholars and critics.


Road to No where "Exodus" by Joseph Ntensibe

Art collecting supports Art

Uganda’s art collectors are famously business men, art managers, foreign expatriates and artists themselves. In the past five years, there has been a surge in the buying art because of an increased number of artists on the local art scene, an influx of art galleries and organizations opening around Kampala, heightened exposure to the global art market and last but not least, political stability.