Kwasi Ohene-Ayeh espouses a politically indifferent approach to his art practice.  Adopting blaxTARLINES KUMASI’s twenty-first century emancipatory ideas for artistic praxis— a conception of art emanating from “a void: with neither content nor prejudice for any particular medium, skill, material, or process”— Ohene-Ayeh recognizes writing and curating as necessary extra-artistic roles that enable him to critically respond to concerns related to the Ghanaian art scene in conversation with global issues. He actively writes and publishes his texts on Ohene-Ayeh permanently works with blaxTARLINES KUMASI, the project space and contemporary art incubator at the department of Painting and Sculpture, Kwame Nkrumah University of Science & Technology (KNUST), and serves as a member of the institution’s curatorial team who have organized large scale end-of-year contemporary art exhibitions in Ghana — the most recent of which is Orderly Disorderly (2017) featuring 106 artists. He is co-editor of the monograph Ibrahim Mahama Exchange-Exchanger (1957-2057), published on the occasion of Mahama’s participation in Documenta 14 in Athens and Kassel, 2017. He is an ICI Curatorial Intensive alumnus and has done projects in Senegal, UK, Colombia, USA and Germany. He also curates exhibitions and organizes discursive sessions at @thestudioaccra — an independent artist-run space in Accra. Ohene-Ayeh was guest curator for the inaugural Lagos Biennial, “Living on the Edge”, October 14th – November 22nd 2017. He curated Spectacles. Speculations… (2018) in Kumasi, Ghana, an exhibition featuring fifteen artists from Africa, Latin America and Europe and has recently been awarded the Grant of KFW Stiftung “Curators in Residence: Curating Connections” (2018/19) in collaboration with DAAD Artists-in-Berlin Program. He is currently a PhD Studio (Painting & Sculpture) student at KNUST.