ngomanews
email
newsletter |
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Ngoma international artists Uganda |
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provides
news and information about visual arts in Uganda, the region
and beyond. The newsletter seeks to become a major platform
for Ugandan art practitioners and the wider Triangle Arts Network.
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What's
on in Kampala Art Galleries
Kalule
and Ipoot @ Afriart; Young painters Herbert Kalule
and Joshua Ipoot exhibit jointly at Afriart Gallery in Lugogo
Show grounds until the end of August. The duo is jointly exhibiting
a three-week show, entitled; “Of Birds and Men”.
The artists use the image of birds to explore human nature.
Ipoot, a Moroto-based school teacher is typically idealist with
a rather naughty sense of imagination. Kalule’s work bears
close symbolic expression with high passion for color and sense
of flexibility.
Dickie
@ Design Agenda; Dickie Bikwasizehi is an outstanding
fashion designer in Kampala. Here he showcases his latest designs
inspired by African themes and motifs. He presents different
fashions for ladies and gents in Bitengi ang Kikoyi designs.
"The
best of me" @ Makerere University; Featuring all
students from Makerere University's Margaret Trowell School
of Industrial and Fine Arts. The exhibition displays sculpture,
painting, textiles, jewelry and ceramics from four of the best
students class work.
"Culture
in Diversity" @ Nommo Gallery; The show features
some of Kampala's leading painters including Mugisha Joseph,
Maria Naita, Mutebi Fred, Kigozi David, Mukiza Joseph and Bannada
Godfrey. The main objective of the exhibition is to present,
revive and promote different cultures that are suffocated by
the colonial thinking. The show is in preparation for the upcoming
Commonwealth Heads of Governments Meeting (CHOGM) due November
this year.
20%
off @ Tulifanya; A collection of paintings, sculptures
and ceramics is on display at Tulifanya Gallery Hannington Road
throughout the month of August. Different artists have been
given the opportunity to put up their work for a 20% discount
sale.
Collection
@ Equation Café; Leading Contemporary Ugandan
artists display their artworks at both Kayabye (along Masaka
road) and Sheraton Kampala Hotel Equation Café galleries.
The variety of artists includes Paulo Akiiki, Daudi Karungi,
Ben Bukenya, David Kigozi, Fred Mutebi, Hood Jjuuko, Edison
Mugalu, Maria Naita, Stella Atal, Sadat Anwar, Ismail Kamya
and others. The works are a wide range of paintings sculptures
ceramics jewelry, fabrics and antiques.
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CHOGM
2007; Will the Artists Embrace?
by
Ben Bukenya
CHOGM is
an acronym for the Commonwealth Heads of Government Meeting.
It is held every two years and brings together leaders from
countries that were once colonies of United Kingdom to discuss
global and Commonwealth issues. This year CHOGM will be held
in Uganda’s capital Kampala from Friday 23rd to Sunday
25th November. Fifty-seven heads of state are expected to attend.
4,000 hotel rooms are required to accommodate the delegates’
entourages, at least 1,500 journalists and other envoys.
The theme for the meeting is ‘Transforming Commonwealth
Societies to achieve political, economic and human development’.
Who
takes what?
It is customary for the host nation to showcase ground breaking
initiatives during CHOGM. A number of activities are gaining
momentum in preparation for the event. Apart from refurbishing
hotel rooms, installing automated banking machines, constructing
roads and planting trees (along Entebbe-Kampala highway);
• Miss Chogm beauty pageant was on Friday 17th August
launched at Sheraton Hotel. (Samaki, Dickie, Senson who will
do the fashions?)
• Mobile toilets, tents, banners, scroll stands, platforms
and lighting at the Uganda Museum and the National Theatre will
be set up by Wedding Niceties (U) Ltd. (This company will definitely
need a design consultant)
• A cultural village at the Uganda Museum is being built
by the Ministry of Tourism. The village will include a tent
housing the cultural heritage for each of the ethnic groups
in Uganda. (Is there need for name tags?)
• The Uganda Museum Galleries are to be renovated by Plan
Build Technical Services. (Did any of us graduate as a curator?)
• Kasubi Tombs and Namugongo Martyrs’ Shrine, which
are expected to attract the highest number of tourists, are
to be renovated. (Who will do the interiors?)
• A tourism catalogue on Uganda’s cultural activities
will be produced by Graphic Systems (U) Ltd. (Don’t worry,
I will be the cover image)
• A documentary on Uganda’s cultural diversity will
be produced by Uganda Film and Television Institute. (Hope they
need a scriptwriter)
• The Kann Artists will construct a monument in copper
behind the Parliamentary Building for Uganda’s commemoration
of CHOGM. (Brothers and sister, Bravo bravo!)
• Before 12:00 noon on the 20th of August 2007; the Ministry
of Foreign Affairs invited for bids from eligible firms to provide
gifts that will not only showcase Uganda's beauty but also make
CHOGM 2007 Uganda, memorable. (Tagaframe, Afriart, Gecko, Design
Agenda, did you hook up the deal? Please get back to ngomanews)
Open
platform
Since artistic expression is a way of grasping situations and
reflecting reality, it is the best time for us the artists to
showcase our “gifted by nature”. As individuals
or as a collective, we need to walk around ways of presenting
ourselves, like we should for a visitor. It is naturally our
responsibility to freely color the walls and streets of Uganda
and provide memorable food for thought for the visitors.
Deal
or no deal?
By post time, I was still looking for one great sculptor who
had close contacts with Mzee K..r.m. This hotelier could own
about 3000 of the 4000 guest rooms required (I might be wrong).
We could hang one piece of art on each of the four walls of
a single room. That’s about 4pieces x 3000 rooms x 200$.
This is exclusive of the corridors, lounges, restaurants, bars,
conference rooms and terraces. I know Mzee may ask to pay about
50%, but that’s ok for art to stay in Uganda.
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One-on-One
with Veroniccah Muwonge
Ugandan
artist Veroniccah Muwonge graduated with a bachelor’s
degree in Industrial and Fine Arts from Makerere University
in 2002. She then moved to Nairobi where she worked alongside
Kuona Trust at the Kenya National Museum Art studios and later
owned a private studio at the GoDown Arts Center. In 2006, she
moved back to Uganda where she is currently practicing at her
home studio.
Veroniccah’s
work is characterized by definite line work that is dramatized
by brilliant colors and figures. Going through Veroniccah’s
work is like reading her life journal; it’s a life story
of the artist as told by the artist.
Veroniccah’s
work has shown in galleries in Kenya, Uganda, Zambia, Nigeria,
France, Germany, South Africa, and the U.S.A. She won the PACA
5th Biennale 2004 and represented East Africa in Nigeria where
she gave lectures and presentations on East African art. In
2005 she won the Freeman Fellowship by the Ford Foundation for
Africa and Arab countries to Vermont U.S.A, followed by an exhibition
at the Vermont Studio Center and another joint show at the Triangle
Studios in Brooklyn, New York.
Veroniccah
has just returned from a 6month tour and research in the United
States. She visited Art galleries, historical sites and Museums
in Boston Massachusetts, and Miami Florida. It is just freshly
that Ngomanews’ Ben Bukenya rammed into her with a question-answer
exchange and notwithstanding she responded with unmarked thoughts.
We are delighted to feature her as Artist of the issue.
Qn.
Your international orientation has confidently intrigued leading
global art organizations recently, how have you achieved this?
Ans.
I can say that my hard work and networking strategy has enabled
me to get globally recognized. I have put a lot of time and
energy into workshops and exhibitions and taken advantage of
these opportunities to make links to as many International artists
and organizations as possible. Luckily, most of them have found
my Art work very interesting and have also introduced me to
their friends.
Qn.
You have been to Vermont Studio Center, the largest international
artists' residency in the United States, what was your experience
like working out there as a female artist coming from Uganda?
Ans.
This was such an opportunity and having emerged as the only
female artist among 5 other male African artists, it gave me
a platform to assess my position and prove myself worthy of
International Audience.
I worked in the biggest art community ever in my experience.
At least 50 Artists at anytime running in periods of weeks,
months and a year. The center is always having an activity running
and in this case you are kept with fresh inspiration and exchange
of knowledge and experience from all these different artists
emerging from all corners of the planet.
I don’t usually like to look at myself as just a female
Artist because I feel that when people categorize me as a female
artist, which I don’t deny, it gives my audience room
to compromise my energy and creativity. I am a strong artist
and take challenges just like any other male artist.
Qn.
How has the reception of your work been in Uganda compared to
that overseas?
Ans.
My work has been overwhelmingly embraced by the community overseas.
I am glad that also in Uganda I have managed for the little
time I have showed my work to draw attention to a good number
of Art lovers. My only issue was that I had not really got an
opportunity to widely show my work in Uganda because I lived
outside Uganda for many years at the beginning of my career.
I lived in Nairobi since 2001 and that’s where I based
to carry out all other projects and travels.
Qn.
What kind of painter are you?
Ans.
I consider myself an expressionist. I always have a message
I want to communicate to my audience and I use color and forms
to do that. However most of the things I communicate are real
life experiences. These are things I see, feel, or have done
and I want to share with others.
Qn.
Your thoughts about color?
Ans.
Color is a medium. I can manipulate color to express the mood
of my subject. This to me has been the most interesting moment
when I work. I love color and believe in color. I do not allow
color to control me, I enjoy using “contrasting colors”
on the same piece and it is my joy always when it comes to the
results.
Qn.
Do your travels influence your work?
Ans.
In a way, Yes. When one travels they acquire knowledge, and
when one acquires knowledge and use it wisely they become better
people in life. Since I draw inspiration from my personal experience,
I always have new things to talk about or share. During my travels
I love to learn how people of a different culture live and behave.
This helps me to understand and appreciate others better because
I open my mind to new things that may not necessarily apply
to my usual life.
Qn.
You have travelled around the African continent; east to west,
south and beyond, what are the benefits and challenges of practicing
as a female artist in Uganda? In East Africa?
Ans.
One thing I have come to appreciate is that challenges of Artists
around the world are the same regardless of gender. In Uganda
and around Africa we face a problem of Art awareness and relevance.
Most societies in African do not find relevance of Art to their
lives and so they don’t pay much attention to it. This
limits appreciation of art and artists. Artists all over the
world find challenges in making sales for their work or living
off art. The only difference is that in the developed countries
people are more aware of the importance of art than in Uganda
and the rest of the under developed countries, yet we have plenty
of talent that should be acknowledged.
Qn.
Your thoughts for developing network skills for all artists
in Uganda?
Ans.
The most important thing is not to think we know it all. Let’s
learn to share information with others, maintain a mailing list
and always reach out to others for events in Art. Learn to pass
on valuable Art information to everyone in your mailing list
and remind them to do the same.
Qn.
Any piece of advice to young artists who may wish to
follow your trail?
Ans.
To the young female artists, learn to take on challenges; there’s
nothing too big for you because you are a woman. In the modern
times and industry we can not afford to pity ourselves and we
must keep at the top of the game.
To all
the young upcoming artists please learn to take on any opportunity
that comes your way, apply to international workshops and expose
yourself as much as you can because it the best thing you ever
do for yourself to have your work out there.
Qn.
Are you prepared for CHOGM?
Ans.
Absolutely!! I was a bit skeptical about the representation
of the “VISUAL ARTS” but I am sure by the time the
Queen lands her feet on Ugandan soils, everything will be in
place.
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The Talking compounds create impact
in community schools
By
Emmanuel Mutungi
Its
four months now since the Great Lakes Regional artists installed
the first ever talking compounds in Kiruhura district-western
Uganda. Eight schools have enjoyed and continue to befit from
a more effective way of communication than before. Organized
by Ngoma and CBI, The talking compounds program has served the
purpose and continues to draw bigger audiences.
More
talking more compounds
CBI has received five requests from other schools to help them
have a similar project in their compounds. These schools wish
to be part as the installed compounds are great inspirations
and silent teachers to children, their parents and community.
Haji Bujju is willing to carry out the mobilization as the activity
gave him an opportunity to meet both the parents and children.
“I used to meet parents on issues of funds, this time
it was about creativity in education” said the Kanoni
sub county chief. The entire district leadership is optimistic
to have the activity scaled up to district level.
Host
families get emotional
When CBI approached the host families in February and March;
many were reserved to take up the participants. Families were
not sure on how to relate with the artists because of food,
language and differences in culture. By the time the workshop
ended, departure was deeply touching as the families had developed
personal attachments with the artists.
Ten families have already expressed their interest to host artists
when CBI and Ngoma carry out another activity.
Artists
and artisans find platform
The Communities too are happy. During the activity many were
able to sell their crafts and other items to the artists which
raised their house hold incomes. In addition, during the home
visits, artists commented and advised them on issues of hygiene,
product designs and shared their experiences. The communities
feel that was enriching and would want more of such arrangements.
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Our
e-mail newsletter recieves applause from the network
•
“Congratulations are in order to Ben Bekeunya in Uganda
for compiling a very informative newsletter entitled Ngomanews
that seeks to provide news and information about visual arts
in Uganda, the region and beyond. The newsletter hopes to become
a major platform for Ugandan art practitioners and the wider
Triangle Arts Network of which Greatmore Studios is a part.”
“The
first Ngoma Workshop was initiated in 1997, in a response to
a critical need to bring artists together in a greater spirit
of cooperation, as well as provide participating Ugandan artists
with exposure to the global contemporary art arena. Visit www.artshost.org/ngoma/
for more information on opportunities offered though Ngoma workshops.
To keep you up to date with happenings in east Africa subscribe
to the newsletter at ngomaart@yahoo.co.uk “
TAG
Newsletter
Thupelo And Greatmore
Capetown
“This is great news...
congratulations!
I'd like to receive your newsletter. Please add my name to your
list.
Many thanks”
Barbara
Murray
barbara.murray@artlover.com
•
“Please find attached the Ngoma, Ugandan newsletter, congratulations
to Ben Bukenya for a great, interesting and informative newsletter”
• “Great newsletter big congratulations, I have
forwarded around the network, well done”
• “best wishes and when are we getting another of
your great newsletters”
Danda
Jaroljmek
Director
Kuonatrust
Nairobi
•
“I really appreaciate the work you are doing for
Ngoma. I receive all the communication but as you know
"mother's union" Degree is tuff!”
Ms
Sylvia Katende
Networker
PhD Student
USA
•
Thanks for doing a good job so well needed.
Sanaa
Gateja
Senior Artist
Uganda
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Dwayer's International Workshop for Women - Visual Arts
January
25, 2008 to February 8, 2008
Deadline: September 15, 2007
Dwayer’s international visual arts workshop for women
is the first of its kind in the arts field in Egypt to gather
women who work in the visual arts from the entire world in Alexandria.
The workshop will be held with the initiative and organization
of Dwayer group for arts and dialogue of cultures and corporation
with Atelier of Alexandria (Assembly of Artists and Writers).
It is aim to working in the relation between arts and the dialogue
of cultures, especially in the fields of visual arts (with a
cross over between performing and visual arts).
Dwayer's
International workshop for Women - Interdisplinary Art
February 10th 2008 to February 16 2008
Deadline: September 15th 2007
Dwayer’s
international visual arts workshop for women is the first of
its kind in the arts field in Egypt to gather women who work
in the visual arts from the entire world in Alexandria. The
workshop will be held with the initiative and organization of
Dwayer group for arts and dialogue of cultures and corporation
with Jesuit Cultural Center. It is aim to working in the relation
between arts and the dialogue of cultures, especially in the
fields of interdisciplinary work (with a cross over between
performing and visual arts).
For
details and application form; http://www.dwayer.org/english_activities-womenworkshop.htm
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Dwayer's
International Exhibition for Digital Printmaking
March
20 to March 31, 2008
Deadline: November 30, 2007
DWAYER’s International exhibition for digital arts in
Alexandria from 20Pth Pto 31PstP of March2008, is actually the
first festival to be held through Dwayer Group for arts and
Dialogue of Cultures with collaboration with Atelier of Alexandria
Assembly of Artists and Writers. It is an international exhibition
held every two years for the artists of digital artistic edition.
The Exhibition management invites all artists from different
countries of the world to participate in this festival through
sending printed copies of their executed works by the digital
printing techniques which are mixed with traditional artistic
printing techniques.
For
details and application form; http://www.dwayer.org/english_activities-digitalarts.htm
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What
Does It Mean To Claim A Piece Of Land Today?
The application
deadline for LAND GRAB ONLINE is midnight September
15th, 2007. (Pacific Standard Time.)
LAND
GRAB ONLINE seeks to display artworks that explicitly address
the naming and claiming of space.
What does it mean to claim a piece of land today? Is it legitimate
to desire a place of one’s own? As real estate prices
skyrocket throughout the world, it is increasingly difficult
to retain a space and place.
LAND
GRAB ONLINE welcome submissions including - but not limited
to - issues of land ownership, real estate acquisitions, squatting
on private or public property, citizenship and colonialism.
The projects included for this online showing need not occupy
actual space; they can also exist as virtual projects or as
ideas for projects that may or may not be feasible in a physical
location.
Among
other questions, LAND GRAB ONLINE aims to consider whether the
possession, occupation or designation of a site alters the place
itself. The project also aims to ponder what the place of art
is in an increasingly global world where artists, like many
others, are more and more on the move. Might some artists and
artworks contradict such a tendency, perhaps expressing the
desire to instead linger, settle and stay put?
To apply
http://www.wooloo.org/project.php?id=12
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50
Full Fellowships a year at Vermont Sudio Center USA
The 3 Full
Fellowship application deadlines are February 15, June
15, and October 1.
Full Fellowships, awarded on the basis of merit, enable artists
and writers to go to VSC for four weeks at no fee.
To apply for a VSC Fellowship, submit your application for the
jury reviews VSC holds 3 times a year. The Admissions office
suggests that applications be submitted six months prior to
the desired Residency start date.
Restricted
Fellowship Awards
In addition, VSC offers over 50 special Fellowship opportunities
with specific eligibility requirements. These awards are offered
through foundations or individuals interested in supporting
specific populations based on their state of Residence, country
of citizenship, ethnic background, alma mater, financial need,
or media.
More info;
http://www.vermontstudiocenter.org/fullfellowship.html
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2nd
international ‘art in the forest’ workshop in Nairobi
Kenya 2007
The
2nd international ‘Art in the Forest’ workshop is
happening from the 17th to the 29th August at the Ngong forest
sanctuary with 5 international artists and 14 local artists
including Kuona’s Mary Ogembo, Caroline Mbirua, Beth Kimwele,
Charles Ngatia, Richard Kimathi, Samuel Githui among others.
The workshop’s aim is to challenge Kenyan artists to work
in a completely different and new environment which may make
them and the public question their ideas on art.For more information
about Kuona Trust and our activities, visit our website; www.kuonatrust.org
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Nairobi
National Museum
to commission art pieces
Nairobi national museum is seeking artists For commissioning
of public art pieces for the newly refurbished Nairobi National
Museum
Application
forms available at;
Curators
office, Nairobi National Museum
Nairobi Gallery, next to Nyayo House
Regional Museums
Buruburu Institute of Fine Arts
French Cultural Centre
Ramoma
Kuona Trust
African Colors
Banana Hill Studio
Or request
via E-mail: publicrelations@museums.or.ke
Contact Tel: 3742121-4 Ext 271 ( Purity ) 0722 229 477 (Eileen)
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The
Rafiki Workshop held from 11 2007 to 23 June 2007 at Numba ya
Sanaa, Dar Es Salaam, Tanzania
by
Dr Philip K. Kwesiga (International participant from Uganda)
Associate Professor, Makerere University, School of Industrial
and Fine Arts, email: pkwesi@sifa.mak.ac.ug
INTRODUCTION
The Rafiki workshop is a series of activities (artistic) that
take place to help consolidate the idea of rafiki (friendship)
among artists, supporters and lovers in Tanzania. It is one
of the organizations that form the Triangle Network that has
kind of global notion. Rafiki hinges its support from Triangle
Art Trust – UK, Ford Foundation (Kenya), British Council
– TZ, Nyumba ya Sanaa, Graphic Solutions Ltd, KIU (Kiswahili
& Utamaduni) to mention some.
I come
from Uganda from a simple but more elite and elaborate position.
I have been doing art for quite sometime – I started way
back in early 1960s when I was about five years. The easiest
available material then was clay and I fully took advantage
of it. I cannot forget that my grandparent (maternal) was a
potter and my mother occasionally did some pots for domestic
use. I came to grips with drawing when I joined school in 1967.
There were no pre-primary institutions in our community then.
May be we did not need one. We received our basic knowledge
from our peers and the communities’ activities in general.
MY
PARTICIPATION
It was in 2006 when africancolours posted information on the
net about the recruitment of artist to attend the Rafiki Workshop.
I immediately jumped to the wagon. The response from Bwana Fred
Halla did not take long but was just questioning whether I would
be able to fit into their rather small budget. I gave it a strong
aye and put him to task to give me the exact dates so that I
could be able to fit in the workshop for the two weeks. Unfortunately
it did not take place. The organizers however kept the candle
lighting and were able to pull resources to accomplish what
they had set out to do. This indeed they did successfully. The
team of artists who are behind the Rafiki Trust should be complimented
for that.
It was
in May 2007 that Fred revived the idea and inquired whether
I was still interested. The busy person I was and having weighted
for the benefits, I Okayed the invitation. The main snag was
the mode of transport. I had never traveled for such expansive
journey. Moreover it was to go through countries (Kenya and
Tanzania). Inside me I knew I could manage – I have been
through similar situations – though the previous ones
were by air and had not been planned. Three days to the workshop,
I sent my son (Conrad) to make for me a booking at the Scandinavian
Express Services Limited – a bus company. I had been seeing
these buses plying the routes east of Kampala, and I used to
wonder about the kind of experience traveling across borders
using them. I had been informed of other service providers but
had listed Scandinavian as the best of all.
On the
Saturday 10 June at 2.00pm I set off from the Scandinavian bus
terminal in Kampala. There were some delays in the bus [it seems
the services are taking on the toll of the bad roads mostly
in Uganda and to some extent Kenya] and later the departure
time. We crossed the Uganda Kenya border by 6:00pm. It was all
night in the Kenyan side and by 2.00am we were ready in Nairobi.
They needed to fix the bus so they told us to wait at the restaurant
[some of us insisted to stay in the bus] giving an excuse that
they wanted to refuel. As it turned out we ended up in a garage.
It took sometime to fix the bus and we came back around 5.00am.
We immediately set off for the Kenya Tanzania border. It is
quite a drive and good viewing for that. It takes you through
the Masai plain right the highest point of land relief in the
region. By the time we reached the border and later Arusha,
I was already engrossed in the artistic impression that that
been implanted in my memory. I loved the weather in Arusha,
it reminded me of my home county [Ibanda] in Uganda.
From Arusha
we changed to another bus – a rather more clean but taking
more passengers. I waited eagerly my eyes glued to the window
to have a glimpse of the famous Mt Kilimanjaro. Indeed after
seeing the marvel, I put my mind to rest. Since there were some
delays to set off from Nairobi, the whole schedule of arriving
in Dar es Salaam by six o’clock became obscure. Lucky
enough I had traveled with my mobile phone; I kept updating
Fred on our whereabouts. He advised me to embark from the Ubungo
Bus Terminal. Ubungo almost became a disaster after I had seen
the sign post and indeed literally jumped out of the bus.
I was happy
to connect to Fred and Haji who had come to meet me. The Kenyan
participant, who had traveled in another Scandinavian bus from
Nairobi, had also arrived and we were driven to the Hotel. We
took our dinner before we retired to our respective rooms.
Monday
11 June, 2007 we converged at Nyumba ya Sanaa where the organizers
of the workshop had secured a working place. This Nyumba ya
Sanaa place has a lot of potential and should be let to deteriorate.
The space the atmosphere and the facilities need to be reorganized.
We set out to stretch the canvas and do some priming for the
next two day. On the third day the idea to paint starting flowing
the individual artist. The artist included Beatrice Njorogi
(Kenya), myself from Uganda, and from Tanzania; Ulindula Mwakisopile,
Salim Kambi, Lute Mwakisopile, Kitogo A Kitogo, Robino Ntila,
Fidelice Gervas, Edgar Mulamula, Kinyaki, Haji Chilonga, Fred
Halla.
We were
provided with the week’s timetable and the rest was painting
and painting. The media, acrylic seem to interest most people
and soon the group started sharing some of the tips, ideas and
styles. With such involvement and the ideas grasped from the
long journey – I was destined for a new outlook in painting.
My inspiration first came from the people, then culture and
the mix. All seem to boil down to Africa as being one people
and only separated by artificial borders and the onslaught of
other foreign culture. From this point on I started to believe
that myself my ancestors are from Tanzania. This I proved since
I come from south west Uganda in the borders with Bukoba in
North West Tanzania. This can be proved by the similarity in
the languages of the two people.
Indeed,
I came to learn that in Tanzania the problem of several languages
have been demystified by the introduction of a single unit –
Swahili. I love to communicate in Swahili, but I am afraid it
had not been encouraged in Uganda in its past history. Maybe
we can learn from the easiness of communication in Tanzania
because of the common unit of communication. I failed my first
Swahili test when I was asked to respond to questions from the
Television clue that had come to interview the artist. I promise
next time I will have something to share in Swahili. What a
shame.
Meanwhile
the artists began to execute the ideas and styles they has assimilated
from the whole exercise. I personally I moved on to understand
and decipher the new style in vogue. This style I understand
was the brainchild of one Tinga Tinga [or is it Tiga Tiga].
This was after the artists were taken the various art points
in Dar es Salaam. The Frame and Art was inspirational in particular.
I can’t forget the Makonde sculptures, the wide life and
several other social and economic aspects. It was a whole range
of new ideas and ideology. Some of the artists in this Rafiki
workshop had been to the Ngoma International Art workshop in
Kanoni, Kiruhura District in Uganda. In particular, Lute Mwakisopile
and the other participants expressed their love for working
in a rural setting where everything comes in plenty. These artists
had found memories of Kanoni and hope they will one day come
and see some of the host families and the community in general.
The activities are jealously guarded in the photographic collection
that they keep dearly.
As the
works took shapes, it emerged out that the titles had to be
refined and defined and indeed I was lucky to collect from artists
their various ideas and rationale. At the end of it we mounted
an exhibition which attracted artists, sponsors, art lovers
and the communities at large.
WHAT
I HAVE LEARNT AND CONCLUSION
I have learned a lot from this workshop. First, it was my first
ever residential workshop outside my own art studio. Second
it was the first time for me to work with other artist sharing
different ideologies but guided by similar conditions. Thirdly,
there was no discrimination among up coming and the seasoned
artists but above all, we had to use similar, material and media.
I would
love to join the other workshops in future and would like to
have some of the artists coming to Uganda and working in the
different environment. I understand two of the artists came
to my home village in Uganda. One could visibly see their knowledge
and exposure in terms of communication and understanding the
general populations of the neighboring countries.
In order
to get more interaction and ideas from the workshop participants,
in future organizers pull resources to put the entire artist
in a kind of residential arrangement. This would create more
energy in terms of contribution and understanding the underlying
objects of Rafiki. I thank the artists who worked with me and
the organizers for being understanding. Asante!
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The
New York, New York Contest
The jurors
will select a list of 50 finalists from the pool of submissions.
From that list of finalists, 4 winners will be chosen to participate
in a 3-week group show in Chelsea (West 26th Street), New York.
Opening night will be Thursday November 1. Invitations will
be sent out to collectors, critics, members of the press and
curators. A printed show catalog will feature the winners background
and work. The 4 winning artists will be flown into New York
City to attend the opening reception the evening before. Winners
will be hosted in hotel in New York City for two nights. Round
trip airfare and two nights hotel accommodations are paid for
courtesy of myartspace. Winning artists work will be on display
and sale at the show.
A few important
points about the competition:
It is a
juried competition, and the panel contains some significant
members including:
Jessica Morgan, Curator, Contemporary Art, The Tate Modern,
London
James Rondeau, Curator of Contemporary Art, The Art Institute
of Chicago
Steven Zevitas, Publisher and Editor of New American Paintings
Further details on the jurors can be found at the bottom of
this letter.
The venue
is the Chelsea Art District in New York City.
The group
show will be held in the heart of the Chelsea Art District in
Manhattan. We will be holding the 3-week showing at 526 West
26th Street in New York. Opening night is planned for Thursday,
November 1. The group show is expected to run through the 22nd
of November.
The Art
Market Remains very hot by all accounts
The art
market remains very hot, with New York City certainly feeling
the temperature. Weekly we are seeing new record prices on art
with collectors on a buying frenzy. While this could very well
turn down if the global economy rolls over, at the moment its
a great time to show and sell your work in New York City.
The competition
is attracting a lot of attention. The myartspace community is
getting quite known in the global art scene these days with
our rising popularity and swelling membership ranks. It's not
unusual on a typical Thursday evening opening night in a Chelsea
gallery to hear chatter about the site and the competition.
We believe the press will cover the competition and the winners
quite nicely, providing the type of visibility an artists should
have to rocket their career.
For more
information, check out the myartspace website.
Detailed
rules and guidelines for the competition can be found at www.myartspace.com/contests.
For a tour
of myartspace, you can go to www.myartspace.com/GuidedTour.
You must
be a member of myartspace to upload your work and enter the
competition.
If you
are a myartspace member, and you want to register now, click
to our contest sponsor, www.dickblick.com
to register.
If you
have any questions, please email us tonyny2007@catmacart.com
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Domus
Academy, Istanbul Foundation for Culture and Arts
ARTEXPERIENCE
2007: LOCAL MODERNITY/GLOBAL EXPECTATIONS is a 4 day workshop
and a final event, free of charge but it is open to a selected
number of participants: artists, curators, critics, professionals
from different fields and people keen of art in general.
The proposal is to focus on concrete relations that happens
starting from local processes, which can generate an idea of
modernity. Young artists and students will discuss and work
with some of the main players of the contemporary art world
on the different meanings of Modernity in art and architecture
from global/local perspectives.A.E. is committed to providing
an experimental working space which tries to merge art and architecture
in a unique field, inviting artists and architects to work in
a cross-border area.Dates: September 12-15, 2007 Roundtable
Open Day: September 15th 2007
Deadline: August, 31, 2007, Venue: Santralistanbul
Email: info@domusacademy.it
Website:http://www.domusacademy.com/
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