Carola Tengler is a ceramicist who spent her career making and teaching pottery in Austria, her home country. In 2003, she joined the Vision for Africa project in Mukono district, Uganda. Carola’s vision is to bring value and expertise to the traditional African forms and patterns as manifested in the field of pottery. She argues that there is a traditional African form and design that is unique to Africa, and therefore must be uplifted and used to create unique works and not works that are trying to copy other cultures’ ideals.Read More >>
Kampala’s arts scene is on the move. There is no longer such a thing as “the only gallery in town”. These new white cubes appears in many shapes and frequencies, and provides great, new arenas for creators to meet potential buyers and patrons. But who are the new drivers behind the wheel? Startjournal takes a look at the spin-offs, the garden parties, the corporate fueled charity events and the festivals.Read More >>
The recent global economic downturn has given people in both public and private sectors a big fright, causing them to cut funding in various areas. Culture and its related industries has taken a huge hit to the gut as a result of this. What now? Should the creative industry just sit back and wait for someone to feel sympathy and donate some spare finance? Or should it start to think proactively and become more financially literate about its sectors? Samuel Lutaaya presents some suggestions.Read More >>
Contemporary visual artists in Uganda are not unified by pan-Africanism. They are far removed from pan-Africanist philosophers and their symbolism. Instead, artists like Wasswa Donald, Ismael Kateregga and Edison Mugalu seem to lure the viewer into a dreamscape where one is free to explore ideas of what world one is in.Read More >>
Between the 16th and the 18th September, the National Theater and Dewington Road next to it will be a riotous blaze of sound, colour, fashion and the spoken word: The Bayimba Festival is coming to town. But the Bayimba Cultural Foundation is so much more than an annual festival. In this article, Bayimba explains why they host cultural workshops, fund artists, and initiate industry discussions.Read More >>
In this essay Dr. Angelo Kakande reviews The Early Years: Paintings from the Collection, 1960s-Mid 1980. He places it in Uganda’s history since 1958. In the process he revises some of the positions taken by its organisers; while he questions others. He demonstrates and argues that a contemplation of the wider context of Uganda’s social, economic and political history, which is embodied in some of the works on show, reveals not simply a failed past, but also a pathetic presence and an uncertain political future.Read More >>
In May newly elected parliamentarians were sworn in amidst colourful cultural performances from all over Uganda. How significant that across the road from them, the theme “We don’t care about Ugandan arts and culture” was discussed at the 2nd Annual Conference on Arts and Culture. Several speakers tried to prove the audience that we do need to care. But the question arises; will art ever be put on the agenda of politicians if we merely consider it to be part of our every day life as the speakers illustrated. And what are the underlying challenges?Read More >>
David Oduki, the co-founder of Royal African Foundation, attended the opening of the exhibition “Let Us Share Beauty” in Utrecht, the Netherlands. “Local galleries in Uganda should be aware of global trends and adapt exhibitions to those trends. They also should promote the likes of Collin Sekajugo and explain their recycling message to the local public,” David Oduki tells Startjournal.Read More >>
Collaborative thinking can help foster creativity. If the collective works the right way, a group studio has great potential to help visual artists bring out more original and exciting ideas. Why not learn from the best in the creative field; Pixar Studio.Read More >>
In 2007, when Start Magazine covered the story of Mona Studio, there was an air of great expectations for the cause of young artists working together. It was a case of two charismatic artists slowly but surely etching their way into an indifferent community in Kamwokya, a suburb of Kampala city. Edison Mugalu and Anwar Nakibinge were forging an art collective to make an impact on the local community. And they almost pulled it off, but for the ignorance of one major factor at play in any alliance; the divergence of vested interests.Read More >>
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.Read More >>
Uganda’s visual art scene, like the country’s history, has been through turbulent times. In this feature Harry Johnstone explores the evolution of visual art in Uganda. Harry examines Uganda’s historical differences with other regions in Africa, visual artists’ reaction to post-independence political struggle as well as the work of several contemporary artists.Read More >>
Art needs patronage. This could be provided by people of modest income who buy art on a regular basis to decorate their spaces and to use as gifts. These abound on the Ugandan art scene. But how useful are these art buyers to an industry that demands major capital injection for its growth?
In this article, Henry Mzili Mujunga questions the role of the corporate sponsors of Arts in Uganda.
Henry Mzili Mujunga chats with the curator of the Dutch Masters Today exhibition at the Uganda Museum and ponders how to start an “art epidemic”. The Dutch masters are here. Who’s excited? Is it Rembrandt or Van Gogh? Are Corneille VanRead More >>