This Is An Exhibition Review

This is supposed to be an exhibition review, with a twist. I still hate exhibition reviews... I was once fired before getting the job because I playfully gave the prospective 'employer' a ten word review. "If you've not done so, go see this exhibition yourself." It was okay…ish as it was one of those where everything seemed wrong. From the work, to the space. And light. And arrangement. And cocktail! The writer who reviewed it summed it up as Amazing!

Two Fridays back, I attended a show that was a first in many aspects in Nairobi. Titled XTRACT.SUBTRACT.ABSTACT, it was conceptualized and curated by the new sheriff in town. Circle Art Agency, a collective of of Danda Jaroljmek, former director of Kuona Trust and coordinator of  the Triangle Network’s African partners; Fiona Fox, who worked as Head of Development for Exhibitions across Tate Britain and Tate Modern and Arvind Vohora, photographer & founding trustee of Kuona Trust who have teamed up to “give talented artists greater visibility and opportunities and allow more people – both local and international – to benefit from and enjoy the region’s lively and fast developing art scene.”

That’s a tough role to want to play given that in Nairobi, everyone gets into the art scene to promote, help, nurture, support, blah blah blah the artist. It probably only Carol's On Off Gallery and William Ndwiga's Little Art Gallery, that avoid these words and are just talking sales.  Which is good. It clearly defines relations and expectations.

Since its inception, Circle have done a handful of quiet gigs of presenting and marketing Kenyan contemporary culture to different audiences and that Friday had their most visible outing to date. They took over the PwC tower/Delta House ground floor right in the center of Westlands and transformed it into a contemporary art space. What in art lingo would be referred to as a Pop-up exhibition.

For the uninitiated a Pop-up space can loosely be described as a non-conventional exciting, unique exhibition site secured for temporary exhibitions. Most of -Pop-up exhibitions are set up in spaces that are not traditionally artsy and these sites may include vacant storefronts, abandoned buildings and public spaces. Defining features of pop-up galleries are that they come and go, and typically appear in places not usually associated with art exhibitions. They possess an element of surprise in which the audience kind of stumbles upon the art when and where they don’t expect it, thus altering the experience of seeing it. Pop-up exhibitions often expand the available space for artists to show their work, and give artists a kind of curatorial control that standard gallery shows would normally not allow. 

Locally, a handful of people have experimented with this concept that is widely common in the west but Circle executed it with panache! They looked for a grand stage.

As the title suggests, the exhibition featured abstract works by artists resident in Kenya. I'll intentionally skip the art part because Justus Kyalo, Sybilla Martin, Emily Odongo, Sidney Mang’ong’o, Xavier Verhoest, Jason Corder aka Farouk, Peter Walala and Michael Wafula all perfomed brilliantly. All did a good job. No, great job. I was taken aback by Wafula's new body of work but Kyalo, my favourite East African abstract painter stole it for me. I need to find a way of getting another 'Kyalo' into my modest collection.

Delta is one of the numerous skyscrapers taking over the Nairobi skyline. An architectural gem that will house multinationals and high flying corporations. It is still under construction but already ruling the Westlands airspace. The expansive ground floor has been reserved for a series of high end restaurants to feed the men/women yet to occupy the tower. Hmmm... a really well thought out plan! But before they settle in, Circle talked to someone and temporarily took over, brought in art and transformed the work-in-progress lobby into a Pop-up exhibition and.! No review can do the exhibition justice.

In my brief encounters of dealing with artworks and spaces (I intentionally avoid the use of the noun curator in any form), I must admit the exhibition was very well arranged. Considering it was a temporary-under-construction space, the set up was visually appealing. The selection of artists wouldn't have been better. I loved the quotes from mainly departed abstract masters but couldn't agree more with Miriam Syowia-Kyambi that it would have been really good to also have quotes from some of the participants. Maybe the ever quiet Sidney. The exhibition had a special preview for targeted immediate consumers and a following day opening. Which seems to have worked well for everyone.

Some may argue that "this is just another art exhibition." and they'd be very right. But I guess it's not about right/wrong here. It's important (for me, at least) to note that someone acknowledged the inadequacy (for lack of a better word) of existing art spaces and decided to find an alternative thereby putting into practice a word mostly understood only theoretically in Nairobi contemporary. It's easy to label any exhibition outside a conventional art space as a Pop-up exhibition. It's not up to me to define the parameters of what is and what is not Pop-up but this was a really good, and important (non hostile) takeover. Most artists agreed it was a good exhibition featuring a good mix of artists. They all would have loved to be part of such a cool art event. The exhibition set the standards bar quite high. Good for the scene and tough for Circle as we now have the Delta/PwC/ XTRACT.SUBTRACT.ABSTACT show as a reference point.

I went back on Tuesday. With daylight and not visually or judgmentally impaired by good wine, cheese, cold beer or mass euphoria, it even looked better. Was good to have the whole Circle posse to myself and even better to hear from them that they were happy with their effort and are looking up to the next challenge.

What this teaches us in our not-so-young art scene is that our problem is not physical infrastructure. We have alot of spaces (and people to man them) what may be lacking is the belief/confidence that we have a way around what is there. We just need to let donor funding/annual reports stop holding us hostage and do what we believe in. Make good art and do good shows. At the end of the day, that's what is important. It is what we recall.

XTRACT.SUBTRACT.ABSTACT was made in Kenya. And as the curtain came down, there is some sadness that Delta/PwC is not an artspace. And we have to live with the harsh reality that we may never see art there again (except the yet to be installed Eltayib Dewalbait and Dennis Muraguri’s commissions at the main entrance) instead, next time it'll be fancy kitchen equipment catering for a high end capitalism inspired food court. But, amid all these, we’ve found the tunnel me thinks. Whether there really is light at the end of it, or it’s just an oncoming train, is irrelevant and a story for another day. But everytime I see a new building coming up or an empty space, I secretly wish Circle Art Agency, or someone who learnt a thing or two from them, would take it over.

Congrats Circle Art Agency. What next? We're waiting to see what the new sheriff in town's got in store for us.

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!

Prints... Then & Now

Hmmm! My first encounter with printmaking involved potatoes, scalpels & tempera paints on sugar paper! That must’ve been 25ish years ago.

The last time I did a comprehensive body of limited edition prints was 2008. Now am back!

And since that’s all that’s all over my studio, I recently had a very interesting conversation about prints with some guests - from the history, techniques, value, methods, ethics and renowned printmakers to the position of prints in the contemporary art world. It made me realize that as much as we may have been dabbling in the arts for (a handful) decades, most of us have just a slight understanding of them that makes us not fully comprehend their value within the contemporary art platform.

There are many different printmaking techniques but my point of reference today is woodcuts.

Woodcuts (according to online encyclopedias) is a relief printing artistic technique in which an image is carved into the surface of a block of wood, with the printing parts remaining level with the surface while the non-printing parts are removed, typically with gouges. The areas to show 'white' are cut away with a knife or chisel, leaving the characters or image to show in 'black' at the original surface level. The surface is covered with ink by rolling over the surface with an ink-covered roller, leaving ink upon the flat surface but not in the non-printing areas. Hmmm! It's actually easier to demonstrate than explaining the process!

The history of woodcuts can be traced to 15th century Europe where they were used for book illustrations long before they attained the status of single leaf fine art prints made popular by Albrecht Dürer (German artist & theorist). It reached a high level of technical and artistic development in East Asia and Iran around the 17th century for both books and art.

Japanese woodcut became a major artistic form, although at the time it was accorded a much lower status than painting.

Untitled Picasso (l) and Edvard Munch's "Death Bed"

The 20th century revolutionized printmaking with some of the most prolific artists, notably Edvard Munch, Emil Nolde, Franz Masereel, Max Beckman and Pablo Picasso continuing to use the medium, which came to appeal because it was relatively easy to complete the whole process, including printing, in a studio with little special equipment.

Unfortunately, there are no clear records of when printmaking ‘arrived’ in Africa. However, what am sure about is that my love affair with prints started in 1997. It wasn't love at first sight but we kind of slowly got attracted to each other.

As a requirement of any young lad/lass keen on joining Kuona Trust , then also called the Museum Art Studio, one was given a piece of plywood, black process ink and basic engraving tools. This must have been Rob Burnet's idea of knocking some sense of patience and discipline into us while discouraging idleness within the space.

With the aid of a jua kali assembled press, Richard Kimathi and Dickson Keke taught us newer folks basic printmaking – both theory and practical. Justus Kyalo introduced us to Bruce Onobrakpeya & Tayo Quaye by forcing us to look at their work.

Later, seasoned Ugandan Theresa Musoke and Tanzanian Robino Ntila taught us more serious stuff. The details of professional printmaking.

By 1999, I was experimenting with multi-coloured wood cut prints and at the turn of the millennium, was privileged to work with Namibian Ndasuunye 'Papa' Shikongeni, Ugandans Fred Mutebi & Henry Mujunga alongside locals Peterson Kamwathi & Ngene 'Small One' Mwaura who were willing to push the boundaries of prints locally.

From left; Bruce Onabrakpeya, Peterson Kamwathi and Zacharia Mbutha

Around 2005/5, I embarked on a serious experiment (playfully titled D) where the aim was to make prints that looked like paintings. After numerous early mornings, chronic back aches and lots of frustration, I got the much needed validation from my then studio mate Panye Mukabi. Ironically, I enjoyed the process so much that after that, I started experimenting trying to make paintings that looked like prints! Am not so far off the mark.

Today, 15 years after my first professional contact with prints, I look at prints by Kenyan artists and see the gains the local printmaking industry has made and is proud to have been part of the team.

From left to right; Ogonga Thom's Seating Naked (2000), Untitled (2008/12) & Good Bad Girl (2012)

However, most patrons of the arts still view it as a secondary media. A cheaper option to painting and sculpture. Most people still view oil painting on canvas as the ultimate with works on paper coming in second and works that are made in multiple editions (prints & photographs) coming at the bottom of the food chain. While photographs are "consumed" in numerous platforms, prints belong ‘in the gallery’ but are unable to stake their claim on the podium coz of prejudice and stereotypes that push it towards the craft market.

Phrases like, “But it’s just a print” or “They are supposed to be cheap” are still common where prints are involved. We need (and have been trying very hard) to sensitize people that prints are artworks just as strong as paintings, installations & sculptures. It’s an audios task that is sometimes hampered by rogue artists keen on making a quick buck by peddling their prints as cheap crafts.

When we ask ourselves why we do prints, or why we interact with them, alot of answers spring to mind. Some are intelligent. Some selfish. Some silly. Some? Just some! However we all agree on one thing. That we’ve come a long way. So long prints used to sell for 700 bob (long story that can only be narrated by Kim + Soi) and only belonged in that old rack at the East African Contemporary Art Gallery at the Nairobi Museum.

We’ve grown. Not only in age, height and weight but also in technical and intellectual ability. So next time you interact with prints, kindly give it the little respect it deserves. Even if they’re just prints.

Five Years, And Still Showing

I always have trouble starting articles. This may be due to the fact that as much as I sometimes want to give my alternative opinion on art related issues, I may at times be too angry, maybe too subjective. And that's not why I do what I do.

I like talking. I also love listening. In my line of work, am always caught in the studio-family cycle so much that any reason to break that routine and have a ball is always welcome. These, come in many forms; Whisky Saturdays with the bikers, Public holiday barbeques in the chochoro, football weekends, adults taking over kids’ birthday parties. And, exhibition openings.

The last couple of years have seen exhibition openings become cool events as a result some of Kenya's most prolific artists becoming regular fixtures in the local scene. This requires artistic spaces (read galleries, and especially public + semi public) to be up to speed so as to have a healthy turnover of exhibitions while satisfying both art practitioners and consumers. With very few spaces and numerous creatives, the question is, How long should a show run for?

I guess it's easy. For as long as the space custodian wants to. But after how long does a show lose relevance? (For lack of a better word, I use relevance).

Any Kenyan, or anyone remotely connected to Kenya doesn't need to be reminded of the year 2007. Alot of things happened. I almost got married. Manchester United won the English Premier League title... But those matter little. It was election year in Kenya. The campaigns were hot, the elections charged and the results disputed. The aftermath was catastrophic. We descended on each other. Kenya was like a video clip from bob Marley's 'burning & looting.'

This went on for 3 months.

Every Kenyan was ‘affected.’ Some, more than others. People told their stories - on TV, in newspapers, online and artists in whatever media they best respond to.

Lots of art-related events happened in Kenya as a result of what is until now referred to as the 2007/8 Post Election Violence, but three I personally believe were head and shoulders above the rest.

Not in any particular order, Kuona Trust marshalled artists and put together a brilliant exhibition to raise funds for direct victims of the chaos. The monies collected were handed to the Kenya Red Cross and I believe were used for the intended purpose.

The Kibera posse, Maasai Mbili which comes from the settlement that was arguably the most affected led their community in a series of healing workshops that were held in the burnt down settlements. Solomon Muyundu aka Solo 7 had peace messages written all over the sprawling slum while Otieno Gomba led the rest of the gang painting within ‘the ruins.’ This noble gesture put the Kibera artists on the global pedestal. The outcome of their activities was almost instant.

Finally, press (and a handful of amateur) photographers, those who witnessed the action first hand, brought to us an unedited version of what was rated X on TV through the Kenya Burning photographic exhibition. It had a chilling effect!

Most of us middle (and semi-middle) class folks had no idea what was going on as we were behind our relatively safe houses protected by razor/electric wire with an armed response gang stationed outside the gate (with a dog) watching the going ons on gagged TV.

The exhibition at the Godown Arts Centre was very graphic. Gruesome. The stories were surreal. They were not (supposed to have been) made in Kenya. Whatever message the exhibition (with a caption Never Again) wanted to pass, was passed. It was quite a successful exhibition, I believe. Back in 2008.

And then it moved. First to the late RaMoMa, and then to the Kenyatta International Conference Centre. It also showed in Eldoret, Mombasa, Kisumu and Zanzibar. And then this year in January, it came back home to the Godown. It is still on 8 months later! 
Last week, a second one opened in the Nairobi Gallery. Wow! Two exhibitions, same content in the same city. Never happened before. This is probably the exhibition that holds the international title of longest running & touring exhibition! It can also be summed in one word. OVERKILL!

In search of answers, I asked myself why this exhibition is so important to us as Kenyans, as artists, as space custodians?

It's so very true that we butchered each other, raped 'our enemies' daughters/ mothers/ sisters, looted and burnt property... So what? In the exact moments of mayhem, there were our very own heroes - who saved lives of perceived enemies, tended their wounds, fed them, clothed them... those who put their lives on the line by helping those from 'the enemy'. But these are not good enough stories I guess. They are not sensational enough I bet.

These are images from (almost) 5 years ago and as we approach an election which has been pushed to next year because we ain't ready, Tana River was on fire. Why? Tribalism. Mombasa was rioting. Why? Religious intolerance as a result of a murdered Sheikh. Mombasa Republican Council is threatening cessation. Why? A whole list of grievances that contributed to Kenya burning in the first place. All these lead me to the same question. What happened to our social responsibility as creative people? How can we use the platforms we control for the greater good? How can we use what we have to prevent Kenya Burning Season 2?  What do we gain by showing one exhibition for 5 years? Showing it in two spaces at once. Absolutely nothing. Am sure even the photographers in the exhibition have new photos they'd love us to see. I saw Kibera in March 2008. We stood in a burnt down pub during the Maasai Mbili project. When I went back to there in May, the bar had been re-built, operational and we had a beer in it with the gang. Why don't we want to tell these (slightly) positive stories?

People lost lives and property and most are still living in squalid conditions. This mayhem taught us words and phrases that we’ll probably never be able to use in any context outside Kenya. Internally Displaced Persons (IDPs), Post Election Violence (PEV)… What are we trying to achieve through this exhibition 5 years on? What satisfaction are we getting from displaying other people’s prolonged pain and anguish? When will it stop? Nothing personal but i think we've all had enough of it. We messed up big time and if we’re not in any way trying to right the wrong, we have no business even talking about it. I bet no woman wants to be reminded of the day they were busted cheating on their spouse just like no man writes in his diary the date he was arrested soliciting for sex from a prostitute.

From a very-selfish-practicing-artist point of view, it's not rosy either. All the months such an exhibition takes, holds up potential exhibiting space denying a platform for showing local artists' recent work - some of which is interrogative of pertinent issues Kenyans need to deal with to avoid a repeat of 2007/8. That explains why we've never seen a show by Kim at the Nairobi Gallery or Mary at the Godown or Omari at KICC.

But then again, this is just an alternative writer, on an alternative platform using so many words to say, “Yes, Kenya burnt. Part of it has been rebuilt. Part is still being built, albeit slowly. The only part that is beyond salvage is our souls and we’re daily confirming it by constantly dwelling on the flames, the displacement, the murder, the pillaging, the hate speech and pledging our allegiance to the merchants of death, 5 years on. Tutashindia Hapo?!"