In Praise of ‘Ghana Freedom’: On the Nation’s Debut Pavilion at the 58th Venice Biennale
This paper analyses the historical significance and local relevance of Ghana’s debut Pavilion at the 58th Venice Biennale. By using the historical materialist thesis that an event in the past is not necessarily historical, the paper highlights how, beyond pomp, the Pavilion could have done more to confront the latency of conformism in its desire for representation and inclusion. The paper also offers how the Pavilion could have taken advantage of its happening on the 20th anniversary of the South Meets West (1999) exhibition to critically reflect on and update Ghana’s contemporary art history in addition to recounting postcolonial and transnational genealogies.
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