Archive

2013

“The Archive: Static, Embodied, Practiced” | Accra, Ghana 

(May – June, 2013) After two very successful programmes in Lagos, “On Independence,” “The Ambivalence of Promise 2010” and “History/Materiality in 2012,” for the first time the initiative has moved to another West African country – Accra, Ghana.

Using the format of part art laboratory, part residency and part informal art academy, over the course of 35 intensive days “The Archive: Static, Embodied, Practiced” will partially focus on technique, but primarily on methodology, critical thinking, and the implementation of conceptual ideas. During “The Archive: Static, Embodied, Practiced,” artists and curators will be encouraged to consider the archive beyond the narrow definition as solely a physical space where collections of documents are kept. What constitutes an archive? Who determines what materials are archival? What particular narratives do archives present, and how? What do archives reveal about the state, particular places or society in general? What is the role of archives and documents in contemporary visual art and curatorial practice today, and what can it be in the future? It is these questions, among others, that “The Archive: As Static, Embodied, Practiced” will encourage participating artists and curators to consider as possibilities for interacting with archives in their practice, be it indigenous or contemporary.The Archive A5 (@version)-3

The Foundation for Contemporary Art, Ghana in Accra is the lead organisation in 2013 in collaboration with key Ghanaian cultural institutions including W. E. B. Dubois Memorial Centre for Pan- African Studies, Ghana National Museum, Nubuke Foundation, Public Records and Archives Administration Department of Ghana, the Goethe Institute, Ghana, Brazilian Embassy, Ghana as well as international institutions such as the New Parson School of Design, New York and The Clark Art Institute, Massachusetts.

Centre for Contemporary Art, Lagos is an independent, non-profit visual art organisation founded in December 2007 to provide a platform for the development, presentation, and discussion of contemporary visual art and culture. CCA, Lagos supports the intellectual and critical development of different art and cultural practices through talks, seminars, publications, workshops, and exhibitions. In addition, it encourages and promotes the professionalisation of artistic and curatorial practices in Nigeria and West Africa by collaborating with national and international artists, curators, writers, theorists, and organisations.

PARTICIPANTS

Participating Artists included: Victoria Udondian (NIG), Fatric Bewong (GH), Mimi Cherono Ng’ok (KEN), Tyna Adebowale (NIG), Stary Mwaba (ZAM), Tijani Mohammed (GH), Mady Sima (SEN), and Nana Afari Darko (GH).

FACILITATORS

FACILITATORS – THE ARCHIVE: STATIC, EMBODIED, PRACTICED 2013

THE ARCHIVE: STATIC, EMBODIED, PRACTICED sessions will be led by distinguished visiting faculty, artists and curators including: Andrea Stultiens (NL); Carla Zaccagnini (AR| BRA); Godfried Donkor (GH/UK); Kianga Ford (US); Shane Alsan Selzer (US);  Miguel Luciano(US);  Karyn Olivier (US); Eddie Chambers (UK) ; Jabulani Perreira (SA); Tamar Garb (SA/UK); Sven Augustijnen (BE); David Breslin (US); Bojana Piškur (SI); Aura Seikkula (FIN); Adriano Pedrosa (BRA); Nana Ofori-atta Ayim (GH); Bernard Akoi-Jackson (GH);  N’Gone Fall(SEN) Chiara Figone (IT/GR)

2012

History/Matter at Centre for Contemporary Art, Lagos

Ato Annan, Paddle your own canoe, 2011. Advertising posters,

powder pigment& acrylic on canvas.

CCA, Lagos is pleased to present the second edition of its international art programme under the theme of History/Matter. In 2010 CCA, Lagos began with On Independence and The Ambivalence of Promise,an innovative programme with the aim of filling a gap in the art education curricula in Nigeria and other African countries, which tend to ignore the critical methodologies and histories that underpin artistic practice. Using the format of part art workshop, part residency, and part art academy, over the course of a month, History/Matter will focus partially on technique and primarily on methodology, critical thinking, the implementation of conceptual ideas as well as the development and role of curatorial practice.

Continuing within the parameters of engaging the past in the present, History/Matter encourages the consideration of the discursive nature of ‘History’ not simply in terms of past events, narratives, and occurrences but also, and primarily, as it relates to the present. What does ‘History’ mean to us? Why does ‘History’ matter? What place does ‘History’ have in contemporary visual arts/curatorial practice? Participating artists will pursue projects that engage the complexities of the present through a historical lens.

In addition to emphasising strategies for engaging the past and present, the programme will stress the critical role that materials play in the execution of ideas, exploring questions such as: How do we effectively use materials to convey our ideas within art making practices? What knowledge is inherent to a specific material? What knowledge is imbedded through cultural, geographical, and personal relationships over time and how does choice of media inform one’s use of materials? The rigorous questioning of material and media in relation to individual ideas will be encouraged.

The programme will unfold through a series of lectures, seminars, portfolio reviews, and group crits as well as through the pursuit of independent and collaborative artistic projects. In addition, this year the pioneering project spearheaded by Kianga Ford and led with Shane Alsan Selzer, the Global Crit Clinic 2.0, Lagos (also facilitated by Bisi Silva and Adwoa Amoah) will serve as a curriculum module for History/Matter. The Global Crit Clinics are 2-week intensive programmes rooted in the Fine Arts pedagogical studio critique, designed to serve international communities where emerging fine artists have limited access to rigorous, idea-based dialogue.

 

Centre for Contemporary Art, Lagos is an independent, non-profit visual art organisation founded in December 2007 to provide a platform for the development, presentation, and discussion of contemporary visual art and culture. CCA, Lagos supports the intellectual and critical development of different art and cultural practices through talks, seminars, publications, workshops, and exhibitions. In addition, it encourages and promotes the professionalisation of artistic and curatorial practices in Nigeria and West Africa by collaborating with national and international artists, curators, writers, theorists, and organisations.

CCA, Lagos gratefully acknowledges the support the Public Affairs Department of the US Embassy, Lagos, Nigeria. The Global Crit Clinics have received generous early support from Parsons, The New School for Design, part of The New School University, New York.

For further information please contact Taiye Idahor: taiye.ccalagos@gmail.com.

The CCA History/ Matter International Art Programme is proudly supported by

PARTICIPANTS

Participating Artists include: Kelani Abass (NIG); Augustina Adebowale (NIG); Ato Annan (GH); Jacqueline Karuti (KEN);Chidinma Nnorom (NIG); Richardson Ovbiebo (NIG); Mthabisi Phili (ZIM);Thabiso Sekgala (SA); Portia Zvavahera (ZIM) and curator; Jabulani Pereira (SA)

FACILITATORS

History/Matter sessions will be led by a distinguished visiting faculty of artists and curators including: El Anatsui (NIG/GH); Jelili Atiku (NIG);  Candice Breitz (SA/GER); Tam Fiofori (NIG); Kianga Ford (US); Shane Aslan Selzer (US); Tessa Jackson(UK); Simone Leigh (US); Amilcar Packar (BR); Simon Njami(FR/CAM); Emeka Ogboh (NIG); J.D. ‘Okhai Ojeikere (NIG); Dan Leers and Kofi Setordji (GH)

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