The Age of blaxTARLINES KUMASI

*This text is an extract from Curatorial Models, an essay detailing the exhibition strategies employed in Spectacles. Speculations… (2018), curated by the author in Kumasi, Ghana.

 

The Age of blaxTARLINES KUMASI

blaxTARLINES KUMASI is a collectivist response to the hopeless conditions that characterize the state of institution-building in contemporary art in the “cultural slum”that is Ghana. It is the contemporary art institution based at the Department of Painting and Sculpture at KNUST directly responsible for successfully implementing a radical openness to the concept and practice of art. This loose community consists of kindred spirits of artistic and non-artistic dispositions who have mobilized together based on core principles of economico-intellectual emancipation and political sensitivity to one’s practice. This community shares amongst itself and with the broader world through writing, publishing (catalogs, monographs, etc), exhibitions, interviews, artist talks, studio visits, library, etc.

At the turn of the century, a “silent revolution” swept through the Department of Painting and Sculpture at KNUST — instigated by artist, poet, mathematician and scholar Dr. kąrî’kạchä seid’ou with fervent support from younger faculty namely Mr. Kwaku Boafo Kissiedu (Castro), Dr. Edwin Bodjawah, Mr. George Buma Ampratwum and their networks — with consequences for the Ghanaian art scene as a whole. Premised on values such as universality and multiplicity of art, the retro-colonial curriculum of the Department was to be transformed and expanded from its historical [over]dependence on “the authority of [human-centered] European traditional and early Modernist media, genres and formats” to include “photography, time-based media, local artisanship, new materiality, curating, text, performance, post-humanist media, robotics, video gaming, site specific and community practices”.2

What the kinship hoped to advance at the time is “a field of “general intellect” which encourages student artists and other young artists to work in the spirit of finding alternatives to the bigger picture which excluded their voices but paradoxically by first becoming an anamorphic stain in the bigger picture itself. This way, the stain instigates a new vision, which requires a necessary shift in the spectator’s perspective. And this shift in perspective leaves the older picture as a stain in the new picture.”3

The democratic principle encapsulated in this metaphor wrests absolute autonomy from the proverbial “bigger picture” and makes it contingent to the subversive potential of both anamorphic stain and spectator. The artist-as-anamorphic-stain possesses not only the right but also the ability to create a new image with the old picture as a stain in it. The spectator’s gaze can no longer remain disembodied, they must correlate to the change that has happened in the picture by adjusting their positionality in relation to it— if this results in the assertion of an indifferent posture, it would be borne out of intention.

The metaphor is close in spirit to Jacques Rancière’s emancipatory politics. For Rancière politics proper begins when the excluded masses (the supplementary part of a population who remain unnamed (dēmos) or the lower classes who are by design elided from positions of power (polis) by the ruling oligarchy), through political subjectivization, assert for themselves the entitlement of inclusion in the exercise of power based on the only universal epithet “we are all equal”. (i.e. this particular group demands universal rights and proceeds to rupture relations in the public sphere by radically affecting the dynamics of inclusions, exclusions and permissions that regulate what is communally common, in a word, the distribution of the sensible(Rancière: 2004, pp.12). Further, the Universal is the space that is common to all of humanity, the space we all must take for granted, the thing we can all appeal to at any moment that is not the predestined property of any race, gender, group, nor state.

seid’ou’s Emancipatory Art Teaching— a pedagogic model that advocates “the dissolving of genres in “activist” and participatory practice”6— has inspired the community that is blaxTARLINES KUMASI to prefer political indifference to any particular trend, style, medium, process, etc. His pedagogic model exemplifies that of the “ignorant schoolmaster” (Rancière: 1991, 2004) who acknowledges the equality of intelligences at work in every teaching opportunity and is concerned not with transferring the knowledge he knows onto the ignoramus but with creating democratic conditions that make it possible for the ignoramus to bridge the distance between what she knows and what she does not yet know— that is, so that she can empower herself to learn what she does not yet know but can know on condition that she wills to endeavor into the forest of signs.

Beginning with the axiom that “art is anything that is radically new”,blaxTARLINES KUMASI proceeds to posit art as a site of multiplicity. Art that emerges “from a void: with neither content nor prejudice for any particular medium, skill, material, or process”8. The void here does not presuppose anything, neither is it a negation of pre-existing content: it is a state of criticality born from a disposition which understands given historical and institutional definitions of art. Art is here radically emptied of such presumptive associations so as to permit an egalitarian regeneration of its content; hence art is anything that is radically new.

This can be formulated in another way with the question “what is art?”. In this specific context, the question must necessarily be its own answer. If we consider the inquiry as lacking content from the outset when posed, it spurs the questioner on to search, discover and learn about what they do not yet know on the basis that they can know. And each questioner can, in principle, begin their own journey into uncovering answers. The question is the void which permits the questioner to regenerate or populate new content. There is, of course, always the tendency to be dogmatically ensnared within a radical breakthrough at a particular moment in this evolution as is seen with modernist avant-garde movements of the past century. Insofar as proponents of these movements purported to have the destiny of art in sight, shrouded in a logic of purity, truth and linearity of time (or history) it was bound to become stale and eventually irrelevant to the times. What is at stake here, then, is to figure out how one can grow the vigor and vitality to sustain the question-as-answer throughout one’s practice.

Furthermore, the motive here is to create democratic as well as enabling conditions of self-determination for any person, regardless of their cultural or economic background, to be able to thrive based on their own intentionality and will. If this is the case, then a logical corollary must be confronted. Democracy inheres antagonisms, as it is not a perfect state of harmony. And this kind of emancipation, although based on a Universality, would not be available to all since it is conditioned on the will or action of its subject. So we find that this democratic ideal, if it is to be truly egalitarian, must dialectically permit its subject to freely reject the terms of emancipation it is itself offering. But what distinguishes this participatory regime from modernist presuppositions based on classical logic, with binaries of either-in-or-out, is that the subject may reject its thesis and still have a right to exist. It is neither premised on the illusion of perfection nor on the myth of total harmony (which would itself be a state of tyranny). It identifies the failures and cracks immanent to its ideals and negotiates those tensions.

Illustrated in the foregoing is the praxiological thesis animating contemporary art coming from KNUST that has established the Department of Painting and Sculpture as an important hub in contemporary art emerging from West Africa. These ideas have manifested curatorially in blaxTARLINES KUMASI’s critically acclaimed end of year exhibitions in Kumasi and Accra since 2014.The exhibition as testing ground for new symbolic relations between artworks and the production of knowledge, intergenerational conversations, collective curating and accessibility programming (translating exhibition material into braille and other local languages, creating areas within the exhibition space for physically challenged persons who could not access the lower and upper floors of its large-scale exhibitions to get a sense of the works on every floor) are some of the core strategies fervently implemented.

At a time when independent curating has become an itinerant practice, collective curating as a strategy is a laudable response to making the curator (or group of curators) present at any moment in time throughout the duration of the exhibition to ensure that the integrity of the works is protected and preserved through daily care. My trans-disciplinary practice (working as artist, writer and curator) as well as consideration of a multiplicity of spectators (children, older people, visually impaired, workers and people coming from various class backgrounds), translating exhibition material (curatorial statement and captions) into braille, and selecting works that offer multi-sensorial experiences for Spectacles. Speculations… comes as a direct influence of blaxTARLINES KUMASI’s inclusive and egalitarian ethos.

 

— (2018).

Extra Links:

 

Notes:

  1. kąrî’kạchä seid’ou explains this concept in an interview with Jelle Bouwhuis stating that “[o]ne expected Neo-Liberal privatization, economic and cultural deregulation, affirmation of freedom of choice and rule of law to stimulate private investment in cultural institutions dedicated to human self-determination. However, if we could say that Ghana’s private mass media thrived in this era, we cannot say so about art departments, galleries, museums and so on. So in terms of cultural institution building, Ghana is a good example of the contradictions of Neo-Liberalism and its globalising processes”. See ‘Silent Parodies. kąrî’kạchä seid’ou in conversation with Jelle Bouwhuis’, in Project 1975 – Contemporary Art and the Postcolonial Unconscious (J. Bouwhuis and K. Winking eds.), SMBA/blackdog publishing, Amsterdam/London 2014, p.p 109-118
  2. Department of Painting & Sculpture, KNUST. About Us. Retrieved from https://painting.knust.edu.gh/about . It states on the website that “The Department of Painting and Sculpture has the oldest history in the Kwame Nkrumah University of Science and Technology (KNUST) and among the pioneering art departments in Africa. […] In the Nkrumah Republican period (1960-1966), the School became an autonomous College of Art headed by the painter E. V. Asihene, an Achimota and Goldsmiths alumnus. In the new College, the Department’s curriculum was based on the recommendations of the First Coldstream Report (1960) which had kick-started the upgrade of art schools in the UK to degree status. Principally, external moderators of the new KNUST programme were either social realist artists or affiliates of the British avant-garde teaching at Goldsmiths, the Slade and the Royal College of Art. The succeeding curriculum of the mid 1970s, through the 1980s, had a group of African Modernists from Nigeria as external assessors and moderators. Among them were the eminent artists Ben Enwonwu, Uche Okeke, Solomon Irein Wangboje, and Demas Nwokwo. With an increasing focus on Africanist narrative realism in painting and official statuary in sculpture, the authority of European traditional and early Modernist media, genres and formats remained unchallenged. The curriculum’s range of painting genres still remained within the bounds of still life, landscape and pictorial composition with the stylistic dominance of geodesic (freshman) cubism, the so-called Tek Style which undergirds most murals on campus”. For a critical analysis of the legacy of the vocationalist curriculum in the colonial Gold Coast “Hand and Eye Work” and its legacy in post-independence art teaching in Ghana see also seid’ou k. (2014). Gold Coast Hand and Eye Work: A Genealogical History. Retrieved from http://garj.org/garjhpsir/index.htm
  3. seid’ou k. & Bouwhuis J. Silent parodies: kąrî’kạchä seid’ou in conversation with Jelle Bouwhuis,” in Project 1975: Contemporary Art and the Postcolonial Unconscious, eds. Jelle Bouwhuis and Kerstin Winking Amsterdam and London: SMBA and Black Dog Publishing, 2014, pp.109 – pp.18
  4. Rancière theorizes this as that which “reveals who can have a share in what is common to the community based on what they do and on the time and space in which this activity is performed. Having a particular ‘occupation’ thereby determines the ability or inability to take charge of what is common to the community; it defines what is visible or not in a common space, endowed with a common language, etc.” See Rancière J. (2004, pp. 12), The Politics of Aesthetics: The Distribution of the Sensible, Continuum International Publishing Group, London/New York.
  5. seid’ou’s pedagogic model is based on his communist political persuasion which desires to “transform art from the status of commodity to gift”. In his own words this meant “going on artistic strike, stop “making art” symbolically and to inaugurate a practice of “making artists.” See Enjoy Poverty: A History of its Reception, Sternberg Press, New York, ed. Els Roelandt and Renzo Martens, forthcoming, RENZO MARTENS: TRETIAKOV IN CONGO?: kąrî’kạchä seid’ou and Jelle Bouwhuis in conversation (interview held in 2016). Around the time of his appointment as faculty in KNUST in 2003 seid’ou introduced “Interactive Series”, a seminar programme in Kumasi to host contemporary artists and art professionals for talks, workshops, exhibitions, overviews and critique sessions. He also converted his Drawing Class into a curatorial project of guerrilla exhibitions on campus and in the city of Kumasi. Campus and city alike came alive with site-specific exhibitions  with critiques and overviews each year. The blaxTARLINES team in an interview with Contemporary And (C&) recounted a “small revolution” in 1996 at the College of Art at KNUST, see Aicha D. & KNUST Team (2017), Department of Now: The teaching methods at Ghana’s Kwame Nkrumah University of Science and Technology Has Cultivated a New Generation of Innovative Artists (July 4th, 2017). Retrieved from http://www.contemporaryand.com/magazines/past-present-and-future-about-art-in-kumasi/
  6. Enjoy Poverty: A History of its Reception, Sternberg Press, New York, ed. Els Roelandt and Renzo Martens, forthcoming, RENZO MARTENS: TRETIAKOV IN CONGO?: kąrî’kạchä  seid’ou and Jelle Bouwhuis in conversation (interview held in 2016)
  7. kąrî’kạchä  seid’ou made this statement in one of his lectures
  8. See https://iubeezy.wordpress.com/iub-projects-2/2017-2/od-curatorial/
  9. The end of year exhibitions have featured undergraduate students, alumni, faculty, teaching assistants and other guest artists living or dead (For example in 2017, “Orderly Disorderly” featured Iranian filmmaker, Abbas Kiarostami (1940 – 2016) and Camerounian conceptual artist Goddy Leye (1965-2011). In 2014, a smaller scale exhibition featuring works by students from the graduating class of that year were shown in an exhibition at Nubuke Foundation in Accra. The following year, the trilogy of large-scale exhibitions at the Museum of Science and Technology in Accra — 1. “The Gown Must Go Town” (2015) featuring 57 selected artists and inspired by Kwame Nkrumah’s speech “The African Genius” made in 1963 when he officially opened the Institute of African Studies at the University of Ghana, Legon. The exhibition also celebrated alumni Ibrahim Mahama and El Anutsui for their participation in the Venice Biennial of that year “All The World’s Futures”, and El Anatsui receiving the Golden Lion Lifetime Achievement Award at the Biennial. 2. “Cornfields in Accra” (2016) featuring 87 selected artists. The exhibition was inspired by Ama Ata Aidoo’s poem of same title written c. 1964-65. The exhibition honored the memory of Camerounian conceptual artist Goddy Leye, founder of ArtBakery in Cameroun. 3. “Orderly Disorderly” (2017) featuring 106 selected artists (fresh graduates, alumni and special guest artists including Professor Ablade Glover, Galle Winston Kofi Dawson, S. K Amenuke, Dr. Dorothy Amenuke, Agyeman Ossei). The exhibition honored the lifework of Professor Ablade Glover and Abbas Kiarostami and featured a body of archives of the Kumasi School among which are manuscripts of poems authored by Uche Okeke. See Ohene-Ayeh K. (June 2017). “Orderly Disorderly” Curatorial Statement. Retrieved from https://iubeezy.wordpress.com/2017/06/29/orderly-disorderly-curatorial-statement/

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out /  Change )

Google photo

You are commenting using your Google account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s

%d bloggers like this: