This Is Not an Exhibition Review!

Two weeks ago I attended the opening of Kenya’s only art competition, MANJANO. At the end of the night, with a couple of beers in me and still licking the grease from the chicken wings off my lower lip, I must admit I was really pleased and happy for local artists. But this is not an exhibition review.

I normally don't rely exhibition reviews, because I love seeing the exhibition itself. I have attended (or participated in) shows then gone on to read what art writers/reporters/reviewers go on to say about them and most of the time, it feels like I went to a totally different gig!

Conventional art reportage dictates that Manjano's review has to mention the Three Hundred Thousand Shillings (Ksh.300,000) first prize cash award and tag a name to it. This should be the same to the other prizes. That is quite okay. However, in our capitalist society, it's very easy to remember the money bit and who got what instead of why there was a gathering in the first place.

Manjano Exhibition & Competition.

Before my time, Kenyan artists looked to Manjano like platforms for genuine recognition of their talent. I can recall the big boys ahead of me nostalgically talk about "Kenya Art Panorama" organized by Alliance Francaise and The HFCK Exhibition & Competition of the early nineties. These were the launch pads for most art careers. 

Then in the mid nineties, for three years The East African Industries Exhibition (and competition) became (probably) "the most important" exhibition in the artistic calender. Artists Sebastian Kiarie, Patrick Kayako and Richard Kimathi careers skyrocketed as a result of the recognition that came with being the winners.

This was followed by a one off Franco-German collaboration in 2006 in the name of Elsyee Treaty Juried Exhibition & Competition where Bertiers, Sam Githui, Fred Abuga and Beatrice Wanjiku walked away with the top honours. They have all continued with fruitful practice. I intentionally avoid the word ‘successful’ as this is only used in exhibition reviews.

All these events have a common thread. They are platforms that recognize artistic talent. All artists are talented me thinks. And all deserve a prize. But some do more than others. That's why these exhibitions that double as competitions are all so vital.

For almost 10 years, there has been a very slow growth in the number or new artists able to survive/stay afloat in the contemporary art scene. The reasons may be varied and many but that's a story for another day. 

During our time (as the art babies) we were very slowly absorbed into the system. Painfully slowly but there was some sort of support system. We had free studios at the Nairobi Museum (with tea and bread for break) thanks to Kuona Trust and a back door access to the Museum gallery. Wendy Karmali would decide who was ready to show there so that was our launch pad. From the Museum it was easy...ish to get to Goethe Institut & Alliance Francaise. Then most of us were ready to fly. Whether we soared or crash-landed is indeed another story for another day.

However, those who came right after us weren't so lucky! Frstly, there were no free studios and no direct access to any gallery so you had several young artists with no experience and almost no confidence, expected to survive on their own. That is the picture I remember the first time I visited Mukabi's studio in 2008 just after kuona moved from the Godown. There was a handful of unkempt juveniles all over the place running up and down when not trying to copy his paintings.

Andrew Otieno's Installation at Manjano

Fast forward to last week, ‘the juveniles’ were all grown up and full of confidence. The reasons are many – resilience and self discipline come top of the list but the recognition they get from platforms like MANJANO goes a long way in building their confidence. Artists like Alex Mbevo and Andrew Otieno (previous winners) are classic examples of this. They have added value to Manjano; from obscure nondescript up and coming artists under Mukabi to fully fledged artists among the first to step into the godown every morning. They are the success stories of Manjano and have made their peers aspire to be like them. As early as November, the gang of about fifteen was prepping for this competition. They all wanted to win. They all wanted to be part of the Manjano History. Like most respected artistic awards/fellowships, the organizers should use Manjano's alumni (and success stories) to raise its profile.

To an outsider (whatever that means), it's all for the money but for a young (and relatively new) artist, the money is good but being propelled onto the pedestal, albeit temporarily translates to "the coming of age," and it's sweeter because they are recognized in front of their peers. And the players in the scene. It is probably the first time 'that curator/dealer' will look your way or the first time 'The East African' will feature you as an artist (No pun intended). iIn the military, that'd be a medal on the chest! 

    

Manjano is a really good platform. The only one we have. But it can be better. I wish previous winners would be more involved and that it can be staged at The Godown Art Centre. but that's just a wish. Also, I honestly hope it stays for long. Very long. And as I congratulate the winners and organizers, I just want you to remember that this is not an exhibition review. 

I loathe exhibition reviews. because most, if not all the time, they just tell you how amazing and beautiful the work is and parade photos of this year's winners (holding dummy cheques) without finding out the competition's impact on the practice of previous winners.

Lastly, personal congrats Wikileaks & Wa Kenchic... not sure if I congratulated you then as the Tusker was taking effect. Nakujia loan next week.

Ask Not What Your Government Can Do For You But...

Hmmm! I'm really lazy. 

No wonder am founder/director of Lazyism, a movement that intellectualizes minimal work by putting thought into doing nothing... but that's a story for another day.

I haven't published for 5... Maybe 6 months. Been doing some reading and mercenary writing in between lazying about... long story.

But now am back!

March 4th heralded a (not so) new chapter in the Kenyan history. Elections. Whether transparent, free and fair is beyond point. My preferred candidate didn't win but oddly enough the winner's manifesto had something about the industry I jaywalk in.

As a not-so-young artist, I've been practicing professionally during the two previous governments’ tenure and coupled with a culture ministry that doesn't comprehend my visual art practice, I've never heard any ‘senior’ government official utter any word that is remotely connected to the contemporary visual arts practice in Kenya. 

On numerous occasions, I've angrily listened to government representatives and technocrats go about their rhetoric when reading written-for-them speeches while not at all believing or even understanding what they are bubbling about. I must admit I had personally lost hope of any serious government involvement in the visual arts...

Until the Jubilee Coalition came to the scene!

Forget the solar powered laptops... and the world class stadia. Someone seems to have done their research. It may not be comprehensive but it’s the thought that counts. Am either bloody optimistic or naively believing a white lie just like a good girl swallowing hook, line and sinker serious bulls**t from a good-for-nothing common thug.

Extracts from the Jubilee Manifesto:

“… Our collective love of sport and the arts is one of the strongest factors that unite us. At home our culture is vibrant and thriving. However, successive governments have too often neglected sports and creative industries. As a result, the potential in these sectors has not been accorded a chance to improve our quality of life or boost our economy. While we have some of the best creative talent in Africa, our copyright laws and production systems seem skewed against them.

We will take measures to ensure that they are able to flourish and contribute to our economic growth and general well-being as a nation.

We will pursue tax incentives for individual and private sector investing in Sports, Arts & Entertainment sectors. We shall establish a series of ‘creative industry hubs’ with full infrastructure facilities such as high-speed internet facilities and design studios as low-cost incubators for new creative industry offshoots and artists. Fund cultural and sporting projects and facilities and increase support for the Kenya Film Commission…”

It’s quite ambitious me thinks. And if they really are serious, they need all hands on deck! 

Now the ball is in the important peoples' court. The cultural managers, Curators running public spaces, lecturers of public universities, writers with influential platforms, senior artists-those with presidential honors and awards. Those (that work in the industry) with important titles, those whose signatures on letterheaded emperor paper can get you an American visa (no pun intended). 

Maybe it's time to disregard all those bottlenecks that previous governments have used and start all over again. Maybe it's time to set up that task force. It could be a time to lobby! 

It is now up to us to keep them in check. To demand what they have promised. And if they’re clueless, it’s for us to help them achieve that dream.

People listen to (very) important persons, Doors are opened to people with titles. Maybe this year is the year. I got hope. Don't care whether it's false but I got it. What's more? I saw paintings in the president's house when he was getting his security briefing.

If this government just tries to implement the creative clause, it won't matter who I voted for. All that will count will be that they will have kept their word and that will be a massive shot in the arm of the visual arts.

I hope that one day in 2013 we shall witness the formation of a very professional Kenya National Arts Council and we shall attend an exhibition opening at our highly reputable National Art Gallery with our president Uhuru Kenyatta in attendance as Patron of the arts. 

But kama tulidanganywa, pia ni sawa tu. Sasa tungoje!