…is a series of exhibitions, offering a new model of engagement with questions of decolonization, restitution, and repatriation. Developed around the idea of regeneration, the exhibition becomes an experimental site for capital, ecology and resources repatriation both tangible and symbolic, an exercise in the reclamation of the commons. By shifting the decolonial paradigm away from Western museums towards a location-specific, solution-oriented approach, the exhibition explores the regenerative potential of art across the African continent and its diasporas.
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The title of the exhibition is derived from “Gräv där du står”, by Swedish author Sven Lindqvist, who drew inspiration from public history campaigns in sixties post-revolutionary China. The resultant movement encouraged workers to research and write about the history of their workplaces, and counter the version of events told exclusively from the point of view of their employers. We frame the project as loci for art making using imagination and collaborative labour that involves communities.
DIG WHERE YOU STAND showcases sustainable models of syncopation of existing systems of legitimation and market value creation that reverses the extraction of resources and capital back towards the African continent. That is to say, from raw material to materialising the ideals of art making.
Featuring the works of Ibrahim Mahama and the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) & Renzo Martens, Bright Tetteh Ackwerh, Kingsley Ayogu, Moufouli Bello, Ralph Borland, Joana Choumali, Victor Ehikhamenor, Raquel van Haver, Zanele Muholi, Ndikhumbule Ngqinambi, Yinka Shonibare, Emmanuel Sogbadji, Adeju Thompson, and Tola Wewe, the exhibition envisions the strategies of liberation from the ongoing extractive processes of economy in and outside the art world. The exhibition not only brings together examples of
regenerative artistic practices but also acts as a regenerative agent in itself –in each location leaving behind a toolkit for jumpstarting regenerative economic processes.
DWYS from Coast to Coast will travel through coastal African cities, with a special focus on cities with so called ‘points-of-no-return’; thereby placing an emphasis on voyage, (dis)placement, migration, labour, circulation of goods and commodities and the agency of contemporary art within this discourse beyond institutional critique and so called Afro-futurist imaginaries. It puts to test the agency of the work of artists within these tropes as we emerge into our present timeline accelerated by post pandemic conditions.
The artists and local communities will explore generative strategies of intervention, cooperation, activism, exchange and pedagogy. Dig Where You Stand will function as a discursive platform to pose questions and initiate conversations about issues grounded in the local realities, as well as in politics of dispossession and displacement across broad areas and industries – from the lasting legacies of imperialism in Africa to the intersections of privilege, access, and class.
Alongside the exhibition program, a series of publications will be developed and produced in
each location, offering yet another negotiated space for regenerative co-production. We propose a new paradigm and methodology with the objective of flattening inherited colonial hierarchies mediated by a syncopated reversal that empowers the sites and promotes future museology and knowledge regeneration.
– Azu Nwagbogu
DIG WHERE YOU STAND aims to promote the cultural and creative content of Africa through facilitating coast-to-coast cultural exchange, as well as to engage the international audience through digital means.
The project will create a paradigm shift – from extractive to regenerative. A new approach to restitution, as well as a new model of cultural dialogue concerning ownership, heritage, and restitution will emerge as a result.
DIG WHERE YOU STAND not only thematizes regeneration but creates it by way of becoming a toolkit. Utilizing technological innovation in both physical and digital realms – such as 3d printing and NFTs – as well as knowledge exchange, the exhibition promotes and tests strategies for kick-starting location-specific regenerative economies. The singularity of our approach resides in our exclusive interest in artists and curators interested in contributing to the communities where their ideas are located.
The title of the exhibition is derived from “Gräv där du står”, by Swedish author Sven Lindqvist, who drew inspiration from public history campaigns in sixties post-revolutionary China. The resultant movement encouraged workers to research and write about the history of their workplaces, and counter the version of events told exclusively from the point of view of their employers. We frame the project as loci for art making using imagination and collaborative labour that involves communities.
DIG WHERE YOU STAND showcases sustainable models of syncopation of existing systems of legitimation and market value creation that reverses the extraction of resources and capital back towards the African continent. That is to say, from raw material to materialising the ideals of art making.
Featuring the works of Ibrahim Mahama and the Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC) & Renzo Martens, Bright Tetteh Ackwerh, Kingsley Ayogu, Moufouli Bello, Ralph Borland, Joana Choumali, Victor Ehikhamenor, Raquel van Haver, Zanele Muholi, Ndikhumbule Ngqinambi, Yinka Shonibare, Emmanuel Sogbadji, Adeju Thompson, and Tola Wewe, the exhibition envisions the strategies of liberation from the ongoing extractive processes of economy in and outside the art world. The exhibition not only brings together examples of regenerative artistic practices but also acts as a regenerative agent in itself –in each location leaving behind a toolkit for jumpstarting regenerative economic processes.
DWYS from Coast to Coast will travel through coastal African cities, with a special focus on cities with so called ‘points-of-no-return’; thereby placing an emphasis on voyage, (dis)placement, migration, labour, circulation of goods and commodities and the agency of contemporary art within this discourse beyond institutional critique and so called Afro-futurist imaginaries. It puts to test the agency of the work of artists within these tropes as we emerge into our present timeline accelerated by post pandemic conditions.
The artists and local communities will explore generative strategies of intervention, cooperation, activism, exchange and pedagogy. Dig Where You Stand will function as a discursive platform to pose questions and initiate conversations about issues grounded in the local realities, as well as in politics of dispossession and displacement across broad areas and industries – from the lasting legacies of imperialism in Africa to the intersections of privilege, access, and class.
Alongside the exhibition program, a series of publications will be developed and produced in each location, offering yet another negotiated space for regenerative co-production. We propose a new paradigm and methodology with the objective of flattening inherited colonial hierarchies mediated by a syncopated reversal that empowers the sites and promotes future museology and knowledge regeneration.
– Azu Nwagbogu
DIG WHERE YOU STAND aims to promote the cultural and creative content of Africa through facilitating coast-to-coast cultural exchange, as well as to engage the international audience through digital means.
The project will create a paradigm shift – from extractive to regenerative. A new approach to restitution, as well as a new model of cultural dialogue concerning ownership, heritage, and restitution will emerge as a result.
DIG WHERE YOU STAND not only thematizes regeneration but creates it by way of becoming a toolkit. Utilizing technological innovation in both physical and digital realms – such as 3d printing and NFTs – as well as knowledge exchange, the exhibition promotes and tests strategies for kick-starting location-specific regenerative economies. The singularity of our approach resides in our exclusive interest in artists and curators interested in contributing to the communities where their ideas are located.
Dubship I - Black Starliner (2019 - 2022) with Transportations Through Technology (2022) in the background, on exhibition at Dig Where You Stand, SCCA Tamale 2022. Both works directed by Ralph Borland for African Robots & SPACECRAFT.
Dubship I - Black Starliner, a fundamental motif to the Dig Where you Stand project, is a monumental, electro-mechanical music-making sculpture in the form of a wire art spaceship, which refers to the history of the Black Star Line shipping company launched by the political activist Marcus Garvey in 1919. The Black Star Line is immortalised in Rastafarian dub and reggae culture, for whom Garvey is a prophet. Dub transports the listener within virtual sonic spaces created by powerful sound systems, and dub lyrics and album covers play on the metaphor of space travel as an echo of this desire for return, or transcendence.
The sculpture was produced using African wire-art techniques, combined with cutting-edge VR sculpting tools to produce a real life ‘wire frame’ in metal rod and galvanised steel wire. It contains a cargo of plastic jerry cans and wooden marimba notes that are struck to produce sounds, amplified through a sound system and FX units and broadcast out of a star-shaped speaker cabinet. The track is sequenced by a rotating oil-drum perforated with a pattern of holes through which light shines to activate an array of strikers, in a reworking of Fred Locks’ classic dub track Black Star Liner (1976). The Dubship was launched at the Zeitz MoCAA, Cape Town in 2019, as part of the exhibition Still here tomorrow… curated by Azu Nwagbogu, and in 2022 was exhibited on Dig Where You Stand at SCCA Tamale, Ghana. The large-scale graphic artwork Transportations Through Technology was launched at the Dakar Biennial of Contemporary African Art in 2022, and accompanied the Dubship sculpture on exhibition at Dig Where You Stand. It tells the story of the artwork and its evolution from physical sculpture to Virtual Reality artwork (the online social VR world Digi-Dub Club) and the histories it represents in comic-book style, executed by South African comic artist Loyiso Mkize, who has drawn for DC’s Batman and has his own comic-book series Kwezi. The theme of ‘transportations through technology’ follows a thread through Marcus Garvey’s repurposing of the ocean liner, an attempt to shape new destinies by repurposing the available technology of the time, the ship – reversing its meaning from a tool of colonial extraction to a means for the return of the dispossessed – through dub music’s sonic transportations to an imagined Africa, onwards to space travel as a metaphor for transcendence, and into today’s technology of the metaverse as a means of transporting artwork to audiences across distances.
The poster acts as an Augmented Reality trigger – when a custom AR app is downloaded, viewers can summon an animated 3D-model of the Dubship, which appears to hover over the poster. You can try the AR experience yourself – go to this page for instructions on how to download the app to your phone, and then point it at the image of the poster below (you’ll need to display this on your computer screen or download and print it).
Transportations Through Technology (2022) By Ralph Borland with Loyiso Mkize An African Robots vs SPACECRAFT Project
Dig Where You Stand - From Coast to Coast - Iteration 3 | Portugal
Building on the conceptual foundation laid by “Dig Where You Stand – From Coast to Coast,” the third iteration of this exhibition series, hosted at HANGAR in Lisbon, Portugal, forges a new path into geographical and thematic territories. Venturing beyond the African continent for the first time, this exhibition explores the complex interplay of labor, exploitation, and the global movement of peoples and ideas that shape our collective rhythm and composition.
Portugal, with its pivotal role in the transatlantic slave trade, serves as a poignant backdrop for an exploration that seeks not only to confront but also to heal and reimagine. The guiding theme for this iteration, “Memories of Discord,” aims to unravel the discordant lullabies of history, acknowledging the scars of exploitation while also sowing the seeds for a future where those same narratives give rise to new possibilities for understanding and engagement.
Featuring the works of Ibrahim Mahama, Barthélémy Toguo, and Cercle d’Art des Travailleurs de Plantation Congolaise & Renzo Martens, this exhibition presents a multidimensional chorus that spans continents and epochs. It re-composes the notes of a shared history that, while marked by exploitation and suffering, also embodies the resilience and creativity of the human spirit.
Artists: Barthélémy Toguo, Ibrahim Mahama, CATPC Collective
– Curated by Azu Nwagbogu
Installation Images
Opening August 7th 2024 | 6pm – 9pm
Exhibition from August 8th to September 7th 2024
With support from @dg.artes
Structure financed by the Portuguese Republic – Culture / Directorate-General of Arts
Following the 1st iteration of "Dig Where You Stand - From Coast to Coast" (DWYS) in Tamale, Ghana and the 2nd iteration of DWYS in Lome, Togo, the next iteration of DWYS is coming soon to the Republic of Benin.
As part of DWYS’s mission to foster sharing across people, cultures, and knowledge systems through our very own DWYS exhibitions, we are delighted to announce Togolese Photographer, Delali Ayivi, as the curator of the 3rd iteration with curatorial advisory by Azu Nwagbogu.
This newest location of DWYS holds great meaning for us in how it parallels the immense touchstones Benin has made in a strive for cultural restitution and repatriation which are major staples to the DWYS curatorial concept. These touchstones can be seen directly in the recent return of 26 royal treasures recently returned to the country by the Musée du Quai Branly and the theme of Benin’s upcoming debut at the Venice Biennale, Everything Precious is Fragile, based on the Yoruba tradition of Gèlèdé and curated by our Founder and Director Azu Nwagbogu.
Delali Ayivi – Biography
Delali Ayivi is a Togolese and German photographer. Delali was born in the US in Baltimore but grew up in Germany. At the Age of 15 she moved to Lilongwe in Malawi. After finishing high school, Delali moved to London to enroll at University of the Arts London. Delali started by photographing her friends and Family in Germany, Togo and Malawi. Finding her great-great-grandfather´s work, one of the first Togolese photographers Alex A. Acolatse, inspired Delali to document her surroundings with a focus on fashion. Delali is now based between London and Lomé.
In 2019, Delali created a project called Togo Yeye in collaboration with her friend and Curator Malaika Nabillah who lives in Lomé. The aim of the project is to create work that hopes to document and empower their creative community at home and in the diaspora, trough creative vision and direction.
TogoYeye’s works were exhibited at the PhotoVogue Festival in 2021 and 2022 and 2023. Togo Yeye was further recognized by PhotoVogue and Studio RM, in form of an Artist Grant, to further their creative mission. In 2022 The project was awarded the pH Museum New Generation Prize. A commissioned solo exhibition titled Racines de L’Imaginaire has been on view at the Palais de Lomé in Togo since February 2022 looking at historic Togolese hair dressing practices. Nataal Issue 3 featured Delali’s work with Togo Yeye on their cover the same year. The Fashion Story spotlighted a range of young designers From Togo. In 2023 Delali was commissioned by Photo Vogue and Puig to create original work for that year Photo Vogue festival, with the Togo Yeye community.
In 2020 Delali used the opportunity of an extended stay in Germany – due to the Covid Pandemic – to research into her own childhood experiences and the lives of other Black Germans. This research resulted into two relating series: Heimat (In Quarantine) and Reflections on “Heimat”. Both series look at the idea of the German “Homeland” and the dual meaning this term has for people of color in the country, resulting in a constant state between familiarity and dispute to their right to exist. The same year Delali was featured on It’s Nice That as one of their spotlighted graduates.
The series Heimat (In Quarantine) was awarded the Foam Talent award in 2021 and one portrait of her brothers was exhibited at the National Portrait Gallery in London as part of the Taylor Wessing Photographic Portrait Prize 2021. The Series Reflections on “Heimat” was featured on Vogue Germany. In 2022 Delali photographed the first politician on the Cover of Vogue Germany and the first Black German Minister Aminata Touré for the December Issue. The same year Delali was named as one of the Dazed 100 Talents. In May 2023, three of Delali’s works including her images with TogoYeye, will be exhibited as part of the 1-54 African Art Fair in New York and London, and Delali was honored by the British Fashion Council, by being selected as one of 2023’s NEW WAVE Creatives.
Dig Where You Stand Togo, Palais de Lomé | Recently Closed
Zanele Muholi sculpture at Palais de Lomé
The Second Iteration of the traveling exhibition after its launch in SCCA Tamale, Ghana in 2022.
“Dig Where You Stand—From Coast to Coast: Seke”
Dig Where You Stand – SEKE, the exhibition imagines a travelling “slave” ship returning to the African continent through the symbolic “Door of Return.” The ship docks on the shores of Lome, Togo, using the Ewe/Eʋegbe word “Seke” (meaning anchor) to symbolise the anchored slave ships on the African coast.
“The forces that unite us are intrinsic and greater than the superimposed influences that keep us apart.” – Dr. Kwame Nkrumah, Africa Must Unite, 1963.
Dr. Kwame Nkrumah’s quote underscores the significance of acknowledging our shared humanity and common goals as Africans, transcending the superficial differences that divide us. It serves as a call to action for Africans to unite and strive towards a more equitable and unified world. This statement remains as relevant today as ever.
In the historical context, the arrival of Europeans in Africa was often marked by ships anchoring off the coast of African cities. These ships, later repurposed as vessels of the transatlantic slave trade, facilitated the transportation of millions of enslaved Africans and the plundering of African artworks to Europe. Each African slave who departed from the continent underwent a harrowing journey through dungeons and tunnels, passing through the symbolic “Door of No Return.” This door represented the point of no return for those torn from Africa, a stark reminder of the inhumane treatment and suffering endured during this dark chapter in history.
Over the years, there has been an ongoing critical dialogue concerning the need for repatriation and restitution from Europe to Africa. In this discourse, some African countries, such as Ghana, have initiated the “Door of Return” as a symbolic term representing the return of African descendants to Africa. It signifies a journey of healing, reconnection with ancestral roots, and an invitation for enslaved descendants in the diaspora to return to the continent and reconnect with their heritage.
Conceptualised as a new model of engagement centred around decolonization, restitution, and repatriation, the Dig Where You Stand – From Coast to Coast exhibition series travels through coastal African countries, particularly focusing on cities with “points of no return.” The exhibition explores themes of voyage, displacement, migration, labour, circulation of goods and commodities, and the agency of contemporary art within this discourse. Going beyond institutional critique and Afro-futurist imaginaries, it aims to reclaim the commons and examine the regenerative potential of art across the African continent and its diasporas.
In this edition of Dig Where You Stand – SEKE, the exhibition imagines a travelling “slave” ship returning to the African continent through the symbolic “Door of Return.” The ship docks on the shores of Lome, Togo, using the Ewe/Eʋegbe word “Seke” (meaning anchor) to symbolise the anchored slave ships on the African coast. By using this unifying mother tongue, Seke transcends borders and connects Lome to other countries on the continent where Ewe is widely spoken. This idea aligns with Dr. Kwame Nkrumah’s call for African unity.
The ongoing conversation on repatriation and restitution within the art world resonates deeply on the African continent. Artists across Africa recognize the need for restitution and reparation, and understand that achieving these goals requires a complete decolonization process. This involves centering indigenous voices, adopting a critical lens to challenge colonial systems within our local communities, and forming the core principles of the Dig Where You Stand – SEKE exhibition.
Collaborating with the Palais de Lome, our Door of Return, the exhibition takes place within the premises of this significant site. The Palais de Lome, formerly known as the Palais des Gouverneurs, holds a crucial place in the dialogue of restitution and reparation. Originally built as a colonial seat, it symbolised the power and affluence of the German Colony. Over time, the Palais transitioned to become the French
Governors’ residence and, later, the seat of the Togolese Presidency after Togo regained independence. However, the Palais experienced neglect and deterioration during a period of political unrest in the 1990s. In an effort to sever ties with its colonial history, restoration works began in 2015, aiming to restore the Palais with a new narrative defined by the people of Togo. The restoration project maintained key features of the original building while introducing new elements, such as ponds, in a dialogue between the old and the new. The entire restoration process was carried out by Togolese artisans and companies.
Dig Where You Stand – From Coast to Coast: Seke presents a multifaceted view of what is, what has been, and what is evolving on the African continent. It is conceived as a working model that fosters collaboration and builds functional communities, particularly in Lome. Through various mediums such as paintings, sculptures, prints, photos, videos, films, installations, audio, and cultural objects, the exhibition encourages an exploration of unexpected perspectives and the growth of African artists.
To extend the exhibition’s reach beyond the walls of the Palais, we have designed mobile photo exhibitions, film screenings, and workshops. These mobile exhibitions will travel from one rural area to another, showcasing replicas of the exhibition displayed at the Palais de Lome. Workshops will engage students and teachers from educational institutions, while film screenings of “Museum and Plantations” and “Postcolonial Dilemma” will serve as case studies, demonstrating how other communities have addressed issues within their social context and offering insights that can be adapted to address challenges faced in Lome. Furthermore, to promote inclusivity, all text and captions will be translated into Ewe as well as audios, breaking the language barrier that often excludes local communities from participating in art exhibitions on the continent.
– Rosemary Esinam Damalie
Installation
Artists:
Bright Tetteh Ackwerh
Sika Akpalo
Michael MacGarry
Renzo Martens & CATPC
Joana Choumali
Datey Kodjo Amouzou
Dodji Efoui
Tete Azankpo
Victor Ehikhamenor
Kodjovi Tessi
Kongo Astronauts
Kugbe-Koffi Apelete (Kukoff)
Kwami Da costa
Leopold Ankude Kossi (Laka)
Zanele Muholi
Thierry Tometi
Jerry Doe-orlando
Atisso Goha
Chris Parker(Megborna)
Hodin Senyon
About Rosemary Esinam Damalie
Image by Alfred Quartey
Rosemary Esinam Damalie (b.1993) in Accra, is an artist and curator based in Accra and Tamale. Possessing a deep-rooted desire to express herself creatively, Damalie embarked on a journey to become an artist, seeking to make a profound impact on the art world. She holds a FineArt Degree in Painting and Sculpture from Kwame Nkrumah University of Science and Technology in Kumasi, Ghana.
Her artistic career has unfolded with Damalie actively participating in numerous noteworthy exhibitions, showcasing her talent and vision. These exhibitions include “Cornfields in Accra” (2016) and “Orderly Disorderly” (2017), both organized by blaxTARLINES KUMASI. In 2018, she earned a place in the Kuenyehia Trust shortlist exhibition, where she was 2nd runner-up for the Kuenyehia Prize for Contemporary Ghanaian Art.
Currently, Damalie holds the position of General Manager and Workshop Coordinator at the Savannah Centre for Contemporary Art (SCCA) in Tamale, an institution founded by the highly regarded artist Ibrahim Mahama. At SCCA, Damalie has made significant contributions to the art world through her involvement in two retrospective exhibitions: “A Retrospective of Galle Winston Kofi Dawson: In Pursuit of Something Beautiful Perhaps…” (March 2019) and “A Retrospective of Agyeman Ossei: Akutia: Blindfolding the Sun and The Poetics of Peace” (September 2020). Furthermore, she has actively participated in three group exhibitions and has successfully facilitated a number of art workshops, sharing her expertise and nurturing the talents of aspiring artists.
In July to August 2022, Damalie had the opportunity to participate in Documenta Fifteen as an artist in residence under the program CAMP, Notes on Education. This residency provided an ideal platform for collaboration and exploration of the theme of education, bringing together artists, art educators, and researchers in a vibrant exchange of ideas and creative endeavors.
Damalie’s artistic journey and extensive involvement in the art community speak volumes about her passion, dedication, and profound contributions to the contemporary art scene in Ghana. With her boundless creativity and unwavering commitment to her craft, she continues to inspire and shape the landscape of the art world, both as an artist and curator.
Curated by Esinam Damalie
Curatorial Advisory by Azu Nwagbogu
Exhibition Opening: 22nd July 2023
Location: Palais de Lomé
Exhibition Installation at Palais de Lomé
Visitor looking at Zanele Muholi works.
The installation of Atisso Goha's sculptures within the pond.
Ralph Borland Dubship installation at the Savannah Centre for Contemporary Art (SCCA)
The first Iteration of "Dig Where You Stand" launch in SCCA Tamale, Ghana, a series of traveling exhibitions from coast to coast offering a paradigm shift by introducing a new methodology of engaging with capital both in the art world and the broader economy on the African continent.
Dig Where You Stand—From Coast to Coast is a series of exhibitions, offering a new model of engagement with questions of decolonization, restitution, and repatriation. Developed around the idea of regeneration, the exhibition becomes an experimental site for capital, ecology and resources repatriation – both tangible and symbolic, an exercise in the reclamation of the commons. By shifting the decolonial paradigm away from Western museums towards a location-specific, solution-oriented approach, the exhibition explores the regenerative potential of art across the African continent and its diasporas.
The title of the exhibition is derived from “Gräv där du står”, by Swedish author Sven Lindqvist, who drew inspiration from public history campaigns in sixties post-revolutionary China. The resultant movement encouraged workers to research and write about the history of their workplaces, and counter the version of events told exclusively from the point of view of their employers. We frame the project as loci for art making using imagination and collaborative labour that involves communities.
Dig Where You Stand showcases sustainable models of syncopation of existing systems of legitimation and market value creation that reverses the extraction of resources and capital back towards the African continent. That is to say, from raw material to materialising the ideals of art making. Featuring the works of Ibrahim Mahama and the Cercle d’Art des Travailleursde Plantation Congolaise (CATPC) & Renzo Martens, Bright Tetteh Ackwerh, Kingsley Ayogu, Moufouli Bello, Ralph Borland, Joana Choumali, Victor Ehikhamenor, Raquel van Haver, Zanele Muholi, Ndikhumbule Ngqinambi, Yinka Shonibare, Emmanuel Sogbadji, Adeju Thompson, and Tola Wewe, the exhibition envisions the strategies of liberation from the ongoing extractive processes of economy in and outside the art world. The exhibition not only brings together examples of regenerative artistic practices but also acts as a regenerative agent in itself –in each location leaving behind a toolkit for jumpstarting regenerative economic processes.
DWYS from Coast to Coast will travel through coastal African cities, with a special focus on cities with so called ‘points-of-no-return’; thereby placing an emphasis on voyage, (dis)placement, migration, labour, circulation of goods and commodities and the agency of contemporary art within this discourse beyond institutional critique and so called Afro-futurist imaginaries. It puts to test the agency of the work of artists within these tropes as we emerge into our present timeline accelerated by post pandemic conditions.
The artists and local communities will explore generative strategies of intervention, cooperation, activism, exchange and pedagogy. Dig Where You Stand will function as a discursive platform to pose questions and initiate conversations about issues grounded in the local realities, as well as in politics of dispossession and displacement across broad areas and industries – from the lasting legacies of imperialism in Africa to the intersections of privilege, access, and class.
Alongside the exhibition program, a series of publications will be developed and produced in each location, offering yet another negotiated space for regenerative co-production.
We propose a new paradigm and methodology with the objective of flattening inherited colonial hierarchies mediated by a syncopated reversal that empowers the sites and promotes future museology and knowledge regeneration.
– Azu Nwagbogu
Installation
“A new logic for exhibition making…”
Artists:
Kingsley Ayogu, Nigeria
Bright Ackwerh, Ghana
Moufouli Bello, Benin
Ralph Borland, South Africa
Joana Choumali, Côte d’Ivoire
Victor Ehikhamenor, Nigeria
Raquel van Haver, Netherlands
Renzo Martens & Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC):
