—I.U.B…

  • Home
  • Projects
    • 2009
      • UNTITLED… (I CANT DRAW) text, [2009]
      • UNTITLED… I CAN’T DRAW [PHOTOS]… I
      • Untitled… I CAN’T DRAW [PHOTOS]…II
    • 2011
      • THE TUBA PROJECT…
        • 22/03/2011
        • 24/03/2011…
        • 27/03/2011…
        • 29/03/2011…
        • 6/4/2011
        • in his studio
        • INTRO TEXT
      • untitled [prison anxieties]_2011
    • 2013
      • untitled (Six and Fours)_photos
      • untitled…(Six and Fours)_the idea
      • Six and Fours: Prison Anxieities, 2013 Photos
    • 2014
      • Asiko Art School – Dakar Residency
        • “Dear Dakar,”
        • “Dear Dakar,” [Photos]
      • EXIT FRAME, 2014
      • Lugar a dudas residency, Colombia
        • Untitled (3)… Letter to the Sky (2014)
        • untitled… (3) [Letter to the Sky]__Proposal
        • Untitled… (3) [Letter To The Sky]__Day 1
        • Untitled… (3) [Letter To The Sky]__Day 2
    • 2015
      • Gasworks Residency
      • Curatorial Projects
        • Silence Between The Lines: Anagrams of Emancipated Futures
          • Curatorial Statement
        • Voyage of [Re]Discovery
          • Voyage of [Re]Discovery_Nubuke Foundation Gallery
          • Voyage of [Re]Discovery_Ussher Fort Prison
    • 2016
      • The Village of Arts and Humanities Residency
        • Project Summary
        • The Politics of Relationality – Part One
        • The Politics of Relationality – Part Two
        • Site-Specific Structure: Concept I
        • Site-Specific Structure: Concept II
        • The Supa Future Studio Collective
        • Collaborators
        • Publication
        • Interviews
        • Exhibition
        • Videos
    • 2017
      • Orderly Disorderly Curatorial Statement
      • Orderly Disorderly Press Release
  • Texts
    • A Phenomenological Reading of Elia Nurvista’s Früchtlinge (2019)
    • G.W.K Dawson: A Particular History of Ghanaian Modernism (2019)
    • On Universality and Curating in the Void (2019)
    • What is a “master”?— Critiquing the conceptual and political framework of the Kampala Art Biennale (KAB18)
    • How Can Art Save the World?: Reading the Lagos Biennial in Terms of Contradictions (2017)
    • Of the Oval and the Cross (2017)
    • Paragraphs on the Contemporary (2016)
    • The Politics of Relationality – Part One (2016)
    • The Politics of Relationality – Part Two (2016)
    • Between The Lines: Silence (2015)
    • Ibrahim Mahama: Preserving Material History Through Exchange (2015)
    • The Artist and the Curator (2015)
    • The Displaced: Serge Attukwei Clottey (2015)
  • Conversations
    • In Conversation with C& – 2016
    • In Conversation with Eli A Freee – 2018
    • In Conversation with Kitso Lelliott – 2016
    • In Conversation with Kwabena Agyare Yeboah – 2016
    • In Conversation with Moses Serubiri – 2014
    • In Conversation with Toril Johannessen – 2016
    • In Conversation with YEVU (2019)
  • Exhibitions
    • Spectacles. Speculations… (2018)
      • Gallery/About the works
      • [Essay] Curatorial Models
      • [Essay] Spectacles Speculations: In Terms of Images
      • Artists’ Profiles
      • Curatorial Statement
      • Brochure
  • Bio

2009

Untitled (I Can’t Draw) text
Untitled (I Can’t Draw) photos I
Untitled (I Can’t Draw) photos II

 

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