By Daudi Karungi Gallerist, Collector, and Advisor on Contemporary African Art During my recent visit to Mexico, one of the most striking experiences was exploring Museo Soumaya, an architectural marvel founded by Carlos Slim, Mexico’s richest man and once the
Read More >>
Category: Visual Art
by Matt Kayem As I am scrolling through my Instagram as usual, my eyes rest on a predominantly black and white poster for an open studio on Afriart Gallery’s page. It’s a new artist! I nod in agreement of the
Read More >>
Kla Art is finally back this year. The bi-annual art festival, which was supposed to take place in August 2020, was postponed to this year and who is not happy to finally see art in the public within this dusty city? Artist and art writer Matt Kayem visited most of the installations around town and gives you his view on each of them.
Read More >>
Covid-19 all caught us all by surprise. Ugandan contemporary artist Matt Kayem had just arrived in Lusaka, Zambia for his art is residency at Modzi Arts when borders closed and there was no return back to his beloved motherland. Trevor Mukholi talks to the artist on phone.
Read More >>
Why isn’t there enough to talk about high art in the Ugandan context? The most important ingredient for a thriving art scene seems to be missing: commerce. The Ugandan art scene has a strong influence from the Makerere school of
Read More >>
There has been a raging discussion on the curatorial practice for the Kampala Art Biennale (KAB18) undertaken by internationally renowned curator, Simon Njami, on social media and international art platforms. The conversation emerged in the aftermath of the biennale with online art publications publishing a series of articles by international writers. Art Journalist Dominic Muwanguzi gives his opinion on the issue from a local perspective.
Read More >>
In this article Carlos Garrido Castellano examines two socially engaged Ugandan art projects: the Disability Art Project Uganda (DAPU), and Lilian Nabulime’s AIDS sculpture. By analyzing both initiatives, I attempt to characterize a new moment in the relations between artistic practice and social intervention in the Ugandan context. I argue that projects such as DAPU and Nabulime’s are confronting the current Ugandan situation of economic and political transformation, marked by the weight of the informal and the challenge of a nation-based cultural sphere. Finally, I point out some similarities with other African socially-engaged art initiatives.
Read More >>
As a sculptor and eco-artist, Sandra Suubi is interested in materials found in a particular space and how she can use them in the construction of sculptures. In this essay she describes how she constructed a sculpture along the shores of Lake Victoria in Gaba.
Read More >>
Canon should be described as an artist before a photographer. From both his art and being in his company it is undeniable that he is one of the most uncompromising people I have ever met. Attempting to present Canon has proven to be the most challenging part of a longer study on Kampala’s urban photographers and artists and I feel that it is necessary to disclaim the highly subjective nature of my attempts to do so. – By Alex L. Rogerson
Read More >>
“Why should an artist live and die as a pauper? Why would an artist be harshly criticized for making a living out of their gift? Why should an artist want to shift the laws of living? Why should artists not stand tall and say they want to be successful and rich?” These are the questions Matt Kayem asks himself.
Read More >>
By Erika Holum Ife Piankhi is a recent artist in residence at 32° East | Ugandan Arts Trust. Working as a performance artist, singer, poet, and creative facilitator for over 30 years, Ife has recently ventured into a creative practice
Read More >>
Ife Piankhi is a recent artist in residence at 32° East | Ugandan Arts Trust where she explored communal trauma, communal healing and identity through poetry, painting, woodwork and collage arts. Ife explored these themes and a variety of materials from May to July of 2017. She also hosted two community conversations to exchange stories and viewpoints concerning transatlantic slavery, personal stories of migration and where the possibilities for healing lie. A video by Nikissi Serumaga-Jamo.
Read More >>
By Moses Serubiri. The Kampala Art Biennale emerged in 2014, organized by the Kampala Arts Trust. It was billed erroneously as the “first biennale in Africa” in the Observer newspaper. Not surprisingly, the biennale was isolated from the Kampala Contemporary Art Festival – KLA ART, its predecessor in 2012. The Kampala Art Biennale premier edition, held at the Uganda Museum, was themed Progressive Africa, and its artistic director was artist-educator Henry Mzili Mujunga. While the first edition embodied a Pan-African spirit of artistic production, it contradictorily relied on the notion of “tourism”—one of the very funny comments I overheard at the opening was when a panelist compared art sales to gorilla mountain treks. Regardless, the biennale seemed to draw quite a lot of local press and drew in large crowds who came to see the Pan-African selection of artworks on display. This year, Moses Serubiri talks to the curator of the 2nd Kampala Biennale, Elise Atanganga.
Read More >>
Video about 3 Ugandan artists, Sanaa Gateja, Sheila Nakitende and Paul Ndema, who showed their works at the FNB Joburg Art Fair 2016. Video by Eric Mukalazi.
Read More >>
The documentation and representation of an event is never objective but individual and biased. This is most apparent when you have the privilege of both, being a team member and an observer of a key art event like the Kampala
Read More >>
By Angelo Kakande. Although military dictatorship has distorted governance, the rule of law and constitutionalism, and caused fear, hopelessness, loss of life and property throughout Uganda’s post-colonial history, it is also a rich and productive metaphor whose visual expression is steeped in a corrupted Western concept[ion] of modern public opinion. In this article I engage this proposition to re-examine selected artworks in the context of Uganda’s socio-political history in the period 1986-2016 – a period of Uganda’s history dominated by the ruling National Resistance Movement (also called the NRM).
Read More >>
By Miriam Namutebi. I am a photographer. I love what I do. My journey in photography started when I excelled in my senior six examinations at the age of 18. My Dad rewarded me with a Fuji Film S200EXR camera. Up to today, I don’t know what led him to that choice for a gift. I immediately started using my camera and every photograph I took introduced me to a new world. I loved that.
Read More >>
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.
Read More >>
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.
Read More >>
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
Read More >>