Tag: Afriart gallery

transFORM#1: A conversation with Afriart Gallery Art director Daudi Karungi

The transFORM #1 Contemporary Art Experience is happening this Saturday 5th December at a warehouse behind the Nakumatt in Bukoto. The event, which is organised in partnership with the Goethe Zentrum Kampala, is widely advertised in the media as an art experience with exhibition and after party with South African DJs. Startjournal met with the organiser Daudi Karungi to find out what was the rational behind the event.

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Stimulating artistic inquiry with Ronex’ Bags

The Exhibition titled Bags that opened recently at Afriart gallery in Kampala is a continuation of the innovation, participation and interaction. The artist showcases bags in both small and big sizes with artworks emblazoned on their faces. Some of the images are abstract while others are semi-abstract with human figures and familiar motifs like the pair of fish wedged on canvas, the miniature human face parallel to the miniature standing human figure and the now popular KLA motif.

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Abanene

The small community that patronises our art, usually constituting diplomats, expatriates and tourists, is not sustainable. They have set for us a standard formula to use in order to satisfy their appetites.

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The Collection Bug

As the global economy goes through turbulent times, it is becoming clear that art is regarded as one of the few investments which people regard as a safe bet. But, there’s more to art than money, despite the relationship the two are often seen as having. Local art collections and sales are on the rise, and with an increasing population of young, upwardly-mobile people looking to culture as a hobby, Anna Kućma sets out to discover the motivations driving several local collectors.

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Nudity? It is Artistic Expression and Free Speech (part III)

In this third and final part of a three-part essay, Angelo Kakende reviews the recent Nude 2012-exhibition at FasFas: “Nudes 2012 was different from Nude 2000, Nude 2001… It was mobilised with local resources and initiatives. This created the burden of the need to sell and recover costs. In my opinion, it is this economic incentive which affected the positions the artists took while. They treaded carefully avoiding the risk of offending anyone.”

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When group exhibitions fall short on competence and innovation

Many artists will gush at the opportunity of participating in a group exhibition, especially when it is held in a non-traditional art space like a hotel or an open space. The excitement comes from the fact that they are going to make a good killing with their art. Unfortunately, many times the artists compromise a lot on quality—often the work is not good enough—and as such it affects the whole idea of creativity, competence and innovation.

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Kampala Contemporary Art Festival: Setting new trends in art exhibitions

“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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Edison Mugalu’s art: The serendipity of success

“I have been following the trends in Uganda’s visual environment in the last decade, with keen interest and I have noted something rather distinct. While the events in art that made headlines in the period of economic recovery (1986-2000) were led by seasoned artists with predictable results, those in the last decade have been dominated by younger artists most of whom in the early stages of their careers. … Edison Mugalu typifies this cadre of younger artists who have taken to making art as their full time employment and many have made a success of it. Their work exhibit a bold and aggressive attitude which is also reflected in their marketing strategies.” Professor George Kyeyune reviews Mugalu’s work for startjournal.

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Jjuuko Hoods’ visual memoir of Kampala today

It took Jjuuko Hoods, one of Uganda’s most productive, self-motivated and energetic artists, two years of soul-searching, looking back at his past artistic achievements and experiences, to acknowledge that a turn-away from the contemporary mainstream crowd of artists’ was not an option to be debated about, but a must to be acted upon. Maria Alawua reviews Jjuuko’s latest exhibition.

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East African Art Summit 2011: The coming together of creative minds

“The time has finally arrived that Africa begin to look to Africa for answers. We are starting to think about making East Africa our market place. But we can not go far without drastically improving the quality of our products. For too long we have made inefficient production schedules and products. On the other hand, a myriad of questions are raised to which answers cannot be immediately found. Still, these questions must be asked and answered if our art is to grow into the cultural void in which we find ourselves.” Ugandan visual artist SANE reflects on the East African Art Summit.

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Kyeyune’s The Kampala I Will Always Come Back To: Sanitised Economic Injustices and the Risk of Propaganda

In this article Angelo Kakande shows and argues that as representations of life in Kampala, Kyeyune’s paintings are not portraits of individuals or groups. They are in the first place art. In the second, they are sanitised versions of reality intended to suit middle class and tourist aesthetic tastes. In the third place, they carry the risks of pandering to state propaganda.

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Patronage, finesse and passion

Could the above be the ingredients that can be injected into Kampala’s visual arts scene to spice it up? It cannot be denied that the art industry has grown over the past ten years, but where should it go from here? Startjournal.org caught up with a few renowned artists to discover what they believed were the elements necessary for Kampala’s visual arts scene to be the best it can be.

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Is the Ugandan art scene on the right path?

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.

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Can you really find your favourite Ugandan visual artists online?

Eight out of ten Ugandan visual artists publish information about themselves and/or their work online. Facebook is currently the most popular way of maintaining ones online identity, but the full-time artists and the experienced artists maintain a wider range of websites, and seem to benefit from that. Startjournal.org has conducted a survey about artists’ first experiences being online.

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A woman with many artistic hats: An interview with Margaret Nagawa

Margaret Nagawa has had many roles and responsibilities participating in Uganda’s fine art world. She has been a student of fine art, a maker of fine arts, a curator, a teacher, a promoter, and a collector of fine arts. And now again, a student of fine arts! Margaret currently lives in Ethiopia but is working on her PhD from Makerere, writing her dissertation on ‘Visual Arts Dissemination and Cultural Translation in East Africa’.

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