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.
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Tag: Lilian Nabulime
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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Even though the artists are trying to break the typical gender moulds, they are expressing themselves by using stereotypical characters. This counter acts their intentions, and instead of inventing new traditions, they are complying with old reactionary traditional values.
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Do you want to learn about the development of the Ugandan Visual Arts scene? In this article, Margaret Nagawa starts with the impact of Margaret Trowell and Cecil Todd, and gives a brief overview of some of the developments in the art scene all the way up to the recent KLA ART 012.
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“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.
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In this essay Angelo Kakande F.J. reviews the themes of woman and man as visualised in Lilian Nabulime’s recent exhibition ‘Sculptural figures reflected on daily experiences’. He shows how a creative enterprise, shaped by formal art education, is interwoven into specific historical circumstances. He submits that through her sculptures Nabulime attempts to challenge masculine power.
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Testament to the strength and innovation of Uganda’s artistic community, the Controversial Art Exhibition at Kampala’s Afriart Gallery sought to challenge traditional perceptions of African art. Henry Mzili Mujunga’s catalogue text, Finding the Controversy, offers an insight into the premises of this exhibition. Here he boldly exclaims that the work of “the true heroes of Ugandan art” could be found in this small, yet adventurous display. And he was right.
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If you visited any of Uganda’s largest art galleries last year, you would see that the exhibitions were almost exclusively by male artists. Why is that the case? Startjournal has interviewed Lilian Nabulime, Venny Nakazibwe, Sarah Nakisanze and Jana Twinomugisha in search of reasons.
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This year the joint faculty exhibition at Makerere University’s Fine Arts Department ”Different but One” celebrates its 15th year. Startjournal.org would like to honour 15 of the inspiring faculty artists by displaying 15 artworks from the current exhibition. Please enjoy and comment their work.
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In Startjournal.org’s series of Creative Techniques, artist and lecturer Lilian Nabulime shows you step-by-step how to carve a wood relief so you can create a wooden 2D-sculpture. Wood relief carving has been an art form since ancient times. In relief carving, figures or objects are carved into a flat piece of wood. The general process for relief carving involves removing wood so that the carved object appears to rise out of the wood itself.
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George Kyeyune reflects on how the medium affects the message in contemporary Ugandan art. “Nabulime makes casts of male and female genitals in transparent soap into which she embeds dark seeds to look like infections. We all know that soap
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