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ALL THE LIGHT WE CAN SEE

 

AN EXHIBITION OF ARTWORKS IN WHICH PUBLIC MONUMENTS IN KAMPALA HAVE BEEN RENDERED ACCESSIBLE FOR PERSONS WITH DISABILITY.

27 OCTOBER – 15 NOVEMBER 2017,

Opening at 5pm.

 

Makerere Institute of Heritage Research and Conservation is presenting the All the Light We Can See Exhibition curated by Angelo Kakande. The show presents works done under the project entitled Kampala’s Public Monuments/Allegories of Exclusion: Perspectives of Governance, Human Rights and Development. Funded by the Carnegie Corporation of New York, this project unfolded a research agenda through which selected national monuments were rendered accessible to the persons with disabilities (PWDs). Being part of this research project, Simon Banga (a graduate student from CEDAT), Lodovic Frank Ssentamu and Ernest Mukwaya (undergraduate students of architecture from CEDAT) produced work on devising ways of rendering Uganda’s public art accessible to PWDs. The exhibition showcases interventions through which art, art history, disability studies, culture, policy and the law interact to widen the audience of Uganda’s contemporary art.

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Makerere Campus Girls in view of Womanhood and HIV/AIDS

Sculptures Exhibition by:
Dr Lilian Mary Nabulime – 2017 Opening: 7th September at 5pm

Young women have higher opportunities to join the university and if well mentored do develop an idealized conception of becoming a successful women in the future. Obtaining a University degree highly sets them a foundation to success in life.  Many African women grow up in cultures where marriage and motherhood are emphasized as the primary goals in life. Thus it is important to have role models or female mentors who embody academic achievement. Dr. J. K. Aggrey, mentioned that, “if you educate a man you educate an individual, but ifyou educate a woman you educate a nation.”  Thus Luke (2001) claims that: to deny women the structural and ideological support they need to obtain full support and equal access, participation, and share of the rewards in the professions of their choice is to deny and impoverish society as a whole. The Task Force on Higher Education and Society (2000) reveals that disadvantaged groups, whether they are racial,linguistic, or religious groups in specific societies, or women almost everywhere, find it difficult to compete in higher education. They usually receive inadequate primary and secondary schooling making thus further progress in the educational system much harder to achieve.

My idea to develop the sculpture was motivated by Dr. J. K. Aggrey’s quotation. Since Makerere University campus is one the highest institute of learning in Uganda, I wondered what thoughts the girls have regarding encounters and privileges they have at the University. I usually observe some of the girls as I teach and mentor them. A few of them pass by office and we have a chat which ranges on various issues namely academics, social, religion, challenges and accomplishment. This steered me to assess their views on Womanhood and develop sculptures that reflected their beliefs,

Sculptures on Display

My earlier exhibition in 2015-16 was titled “Art in Open Office” held at KfW Office Kampala. The concept was to develop work for the “office”. In this exhibition am returning to my passion for found objects in wood and other materials like the nuts and aluminum cans. The wood was not over worked as I allow it to retain roughness and its natural forms and color. I usually beautify the sculpture with colour, burn the wood, strengthen/decorate it with metal sheets of aluminum or copper. The additions and reductions exposes/highlights hidden forms and usually the human forms have lips that are colored with bright red that draws the viewers.

This exhibition’s concept explores selected celebrated thoughts on woman hood and HIV/AIDS as the most affected are the youth and women (UNAIDS 2017). The techniques used in this exhibition differ. The girls have neither been adorned with bright coloured lips nor the forms of the sculptures enhanced with colours. The sculptures have been left with their natural colours with the aim to reflect the thoughts of the campus girls.

The sculptures are in 6 series: Fifteen miniature fired clay portraits with in 6.5×3.5×3 inches tilted “Expressionism”. The second group consists of fifteen found wood sculptures with in 60x30x30cm, titled, “Uniqueness of campus girls”. The third group has ten flat reliefs of 8x8inches, titled “Dreams and consequences” the fourth group are ten wood relief with nailed aluminum cans and metal nuts of 2x1xfeetx1inch, titled “Campus girls life styles”.  The fifth group is big sculptures ranging from 1meter high titled “Reflections”. The last series is a conceptual sculpture of mixed media titled, “Wildness”. The sculpture will reflect on the freedom the campus girls have and yet if misused lead to un desired consequences.

 

COMMON HORIZONS

OPENING
THURSDAY 13TH JULY,2017
AT 5PM

Konrad Adenauer, first President of post-second World War Germany famously said that we all live under the same sky, but we don’t all have the same horizons. When it comes to vision, our perspectives can be as diverse as our fingerprints. However, in art, we can easily contend that we share a common horizon and speak the same language, albeit with different accents.“Common Horizons” is the theme of the group art exhibition consisting of four artists of different persuasions. Their experience in the field ranges from three to fifteen years between them, meaning their aesthetic appeal could be defined as well as separated by this age gap. This notwithstanding, the subjectivity latent in art may not necessarily draw bold lines between their works, as the show will prove it, which puts art, unlike other professionals, on a level plain for all.  The young artists seek to demonstrate that in art, a common horizon is possible.

The Exhibiting Artists:

ROSHANI MADINA SILIBANI

Roshani is a Uganda-Indian artist who has been actively practicing painting since 2014 when she graduated with a diploma in Industrial Art and Design from the Young Men’s Christian Association (YMCA) in Kampala Uganda, specializing in painting and textile design. She is likely more inclined to her Ugandan roots, having been born and bred in the Ugandan traditions and yet she seems not lost on her Indian ancestry. This duo-ethnicity has caught her in a delicate balancing act between two different artistic accents which she is trying to apply herself to nearly in equal measure and her themes and technical approaches can attest to an attempt at appeasing her double identity through her art. `

PAUL SENDAGIRE

Sendagire is a print-maker who has been active for the past decade and a half, working with the technique of dark to light, with some intermediary tones.He likes to talk that much and whenever in a group of people, Sendagire usually stands out because he wants to be heard. As if that is not enough, even while in his quiet studio with no one present he will stop at nothing to continue telling his fictitious stories using images. He says he is largely inspired by social commentary, portraying the mundane happenings around him but always with a comic tweak to it. He never tells things as they are. He will try to look at the angle that the rest of us are unable to see.

MAYANJA RICHARD WEAZHER

With only about half a decade in practice, Weazher is fast gaining awareness of his artistic sensibilities like an adolescent discovering his numerous sensual changes. However, unlike the adolescent that may feel rather confused and lost in the new bodily transformations, Weazher is firmly getting to grips with his new bearings and using this heightened consciousness to carve out his niche and destiny of choice. Weazher has, in the recent past, already been exhibited in several galleries in Europe and now Uganda and he is fast rising in academia as a tutor at Kyambogo University and Masters student at the Akershus University College of Applied Arts in Oslo, Norway.

TINDI RONNIE CHRIS

Tindi has been a practicing painter in Uganda for the last several years, occasionally punctuating it with sculpture wrought in recycled materials. He likes to refer to his works as illustrations of his dreams on canvas. His overarching themes concern hope and beauty using acrylic. It is wrought with forms that are common in the natural world, such as humans, animals, laced with cultural beliefs and the relationship between man and nature. His rendering has a tendency towards Expressionism and Cubism. He currently works with bitenge cut-off fused with paint as collages on canvas. Tindi belongs to Angavu Art Studio, a collective located in Bukoto, Kampala.

 

OBJECT OF THE MONTH

                

              #1. UNTITLED
BY MULINDWA PETER

Mulindwa Peter is one of the second generation Makerere artists who were active in the 70 and 80s. Like many of his contemporaries he responded in a specific way to the politically repressive periods of the 70 and 80s. For fear of espionage, he chose to couch his criticism for the corrupt leaders in anecdotal subjects. In an interview with G. Kyeyune, Mulindwa confirmed that during the late seventies and early eighties, churches and religious symbols were used to express disgust with what he called “Aminism”—Aminism being a direct reference to Amin’s misrule (A. Kakande- PhD Thesis – 2008).

Mulidwa was a student at Makerere School of Fine Art from 1967 and graduated in 1971. He returned to teach as well as pursue his masters in painting from 1977 – 1982. He however left without completing.

Mulindwa’s work is composed of mythical figures rendered in a limited three dimensionality. He uses pointillism as a way of rendering shapes and forms. The work we are presenting (untitled) demonstrates Mulindwa’s skill in assembling images to narrate a story, a Makerere tradition of mural painting (visual broadsheets). Produced in 1982 as part of a larger corpus of work submitted for his masters the degree whose title was– Art in Toro: Magicology and religion, Mulindwa investigated the relationship between Christianity and the local religions of Toro, his native region.

On every June 3rd, Uganda celebrates the Uganda Martyr’s day. It is a day and indeed a month of spiritual fulfillment and we thought it appropriate to choose Mulindwa, whose work focuses on spiritual narratives to extend our reflection on the modern religion in the context of local life. The painting we are presenting for object of the month, Mulindwa reflects on the duality of the   past and the present. Mulindwa argues that modern education and religion have not erased people’s attachment to traditional religion — it is still efficacious. In the centre-left of the mural are symbols of modern education. They include books, a pallet and brushes, pens, scrolls and a figure dressed in graduation gown. This section of the painting is directional with ladders and arrow leading us to the upper left. Mythical creatures populate the top part walking across the spread. It has been a long but successful hunting day, so the monkey figure seem to intimate. There is struggle at the bottom of the painting—a sword is piercing and wounding a potentially dangerous serpent. In both Christianity and ancestral worship, a serpent is a sign of the devil. The dove above it signifies peace and tranquility. Its proximity here ensures control and suffocation of the evil. Cowry shells are interspersed throughout the painting. They were once valuable as currency– today they are valuable as materials for a modern artist—artists who insist on using the past as building blocks.

Note: Mulindwa’s works with similar imagery of reptilian creatures with claws, sharp knives include:
Owls Drums Death- 1982, Untitled (Tormented by a Vicious Attack); 1970s.

Mukyala Hasifa

References
George Kyeyune PHD thesis – 2003, Angello Kakande PHD thesis – 2008, visiting the Makerere permanent collection storage and School of Fine Art registration forms archive- 1970s.

 

OBJECT OF THE MONTH

COMING UP!!!

Makerere Art Gallery—Institute of Heritage Conservation and Restoration (IHCR) is a home to a rich collection of historical art works which date as far back as 1950s. The collection has progressively grown to over 6000 artworks, acquired from both students and staff of the Makerere School of Industrial and Fine Arts. The art works reveal to us aspects of our political, cultural and social history conceived in a range of materials and processes.  Given that Makerere was a regional university attracting students from East Africa and beyond, the Makerere Gallery collection is of more than local significance.

In order to promote interest in the Gallery and its activities, the Gallery management has come up with a new idea which we have termed, Object of the Month. In the Object of the Month, an art work is identified, extensively researched, written about and presented to the public.  In this documentation, the origin of the art work and its life in the collection will be established, the artist who made it will be identified and interviewed  (if still alive), icon-lab sessions will be held relevant scholars and the public will be invited to review and generate information about the art work which will be compiled and later published.

Affirmative Art Exhibition- workshop and closure.

Affirmative Art Exhibition and workshop has been running for the past two weeks and will be closing on Saturday 3rd June. Come and paint your dream with us.

Affirmative Art –New perspectives in empowering through art
Article by George Kyeyune.

In 2008, Makerere Art Gallery hosted an exhibition to celebrate Women’s’ Day. In that exhibition we went beyond the routine displaying works of art –we wanted the exhibition to be more interactive. On a canvas of 8X6 feet, visitors to the exhibition were asked to write, draw or paint anything that they thought brought them closer to the rhetoric of women’s emancipation. The result was a display of dazzling colors and texts loaded with passionate and intimate stories about our mothers and sisters.  Expressions of the centrality of women in participants’ lives were loud and clear. But more importantly, I realized that the activity enabled a deeper reflection on women as mothers and a focused appreciation of their contribution to society. —- An empowering experience indeed. Unfortunately, there was no follow up on this project and canvas is gathering dust, yet to be deconstructed.

It was a delight to listen to Erick’s project of Affirmative Art because I knew that, even much more than women’s exhibition canvas, it had immense possibilities.  While this canvas solicited for opinions of participants about their mothers etc.., the Affirmative Art project is designed to bring about personal empowerment. Some of us have been privileged to build our careers in art. This however does not mean that ‘non artists’ have no access to the benefits of art making. Indeed, we are all born with some competencies in art production and therefore we can use these competencies however limited to speak our mind. Eirick reminded me something fundamentally important. He said  –and I am paraphrasing– “art is a medium/tool that can give you the liberty to reveal yourself in a personal and honest way”— an observation which I entirely agree with given that – as the old saying goes—a picture is worth more than a thousand words.

If art is accessible to everyone—at least at a basic level, it can then be a vehicle to transmit messages about ourselves and in the case of Affirmative Art, self-empowerment. Affirmative Art according to Eirick, is about dreaming and following your dream to the end. It is about our future and making a promise to do whatever it takes to achieve our dreams—dreams which are of course achievable. To that end, it is essential that we make a self-assessment of who we realistically are and what we have so far achieved and then proceed to dream. Some people have a clear image of their dream houses, dream farm or whatever. When these aspirations are scribbled on a surface, they are visualized and, it is possible to reflect on them and they get even closer when text is added and integrated to become part of the art work. Drawing is freer than talking as Eirick reminds.

Eirick recommends that a team of four or five people is constituted and produce a painting or any other convenient art work. They discuss their hopes and fears. They scribble down their aspiration and on a shared canvas where they reveal their dreams. Once formed, the team should stick together and on a regular basis, members update each other on their progress and challenges if any. The internal cohesion comes from the regular sharing and the inherent support within that group.  They form as it were, an Affirmative Art club—a platform for critical self-appraisal and collective dialogue. That, art is able to transform their lives for the better, is by now a foregone conclusion.

Affirmative Art is a project whose relevance and value in Uganda cannot be over emphasized. Thousands of businesses are started every year but only a handful survive their first anniversary.  Affirmative Art can go a long way in saving many of those fledgling ideas and ensure their survival. Uganda indeed desperately needs Affirmative Art given the high levels of unemployment. What Eirick is introducing is innovation that is designed to prepare people of all ages, to embrace and benefit economically, emotionally, spiritually and physically.

Beyond the social and economic empowerment platform, I also know that for those with a passion and interest in art, Affirmative Art introduces yet another approach to art making. We are used to paintings with a singular voice and one signature. We are now talking about multiple voices (when participants work together as a team) and the final product exhibits a variety of styles, emphases and commitments. In there lies the evidence of love, mutual respect and support as well as appreciation of our gifts.

It is an honor and privilege for the Institute of Heritage Conservation and Restoration to host Affirmative Art in action. I am confident that Affirmative Art will not leave us the same, besides, I speculate, it will suggest other possibilities in art for the benefit of all of us.

AFFIRMATIVE ART EXHIBITION

Opening on May 16th at 5pm.
Affirmative Art  empowers dreams in East Africa

by Eirik Jarl Trondsen and Sika Foyer

“The greatest tragedy in life is not death, but life without purpose”,by Myles Munroe

Do you know what you are here for? Have you thought about what you would like to become or what you would like to accomplish in the future?

It may sound like a simple question, but the answers may be as baffling as Dr. Myles Munroe’s quotation above. It turns out most of us actually have blurred visions of our lives and our futures while a few others simply do not have any idea whatsoever. Do you know that living without a vision or a goal leads to frustrations and under-achievement? One will most likely fall for whatever comes one’s way and live according to the whims and expectations of other people, families, friends, and of the society in general.

The good news is that there is a way to live our lives with a purpose. We need to have specific goals and visions and identify ways to fulfill these goals/visions. These life visions and goals are also called dreams. The Affirmative Art group has taken it upon themselves to help others discover and empower their life dreams using creative methods. Working under the banner of Affirmative Art, the team is spearheaded by Eirik Jarl Trondsen, the founder and Norwegian aid executive-turned artist/activist. Other team members include Khalid Njowa from Mombasa, and Kiffe Yoweri from Uganda.

Less than a year ago, the mention of the phrase “Affirmative Art” raised eyebrows even among professional artists in Uganda, and for a good reason. The term “Affirmative Art” was hitherto unheard of in the established aesthetic nomenclature. Now,“Affirmative Art” is spreading far and wide to many corners of East Africa as more and more people embrace the idea of opening the latent possibilities within their natural potential and learning how to realize them in a conscious manner. It is also a way to make art directly useful in one’s life, widening the scope of art and making it accessible to all.

Affirmative Art stresses one simple fact of life: we have to know who we are now in order to know who we want to become in the future. Affirmative Art has created a simple procedure that can be used by people of all walks of life regardless of their educational background, social status, and religious affiliation.

The initiation phase of “Affirmative Art “ is based on a triangle exercise. The purpose of the exercise is to identify the 3 cornerstones of who you are and who you are becoming, which include: (1) your supporters, (2) your achievements, and (3) what you love doing, with a self-portrait symbolizing you in your current situation.

The triangle exercise is a personal/individual exercise done in a group and then shared with the group members. As a matter of fact, the sharing aspect is a key essential in all the Affirmative Art steps.

Affirmative Art Steps

Step I – First Awareness

Affirmative Art recommends using the triangle exercise to identify who you currently are, who your supporters are, what your current  achievements are, and what you love doing. The triangle exercise will be discussed in the group to get feedback from the group members. This will lead to the actual Affirmative Art work

Step II – Affirmative Artwork

Draw or paint what you want to have in your life (your dreams). Any material available to use for the drawing and painting is ok, but markers are recommended when working on paper because they are less messy.  Painting on canvas is also permissible but might be messier and less accessible.

Do not let material issues distract you, use whatever is available to you because the creative process is what matters the most.

The artwork should speak loud and clear to you.  It should be a symbol or a description of your dream (dreams).   For some, this may be an abstract drawing; for others, it could be an image of family, friends, a house, nature, and/or a type of profession or education.   It may contain words or a combination of words and images.

Step III – Private Exhibition/Display of the Affirmative Artwork

One other essential step that is useful is to hang the Affirmative artwork in a key place where you spend a lot of time.This could be your bedroom, kitchen or office, etc.This allows you to see it as often as possible and remind yourself about who you are, who you want to become, who your supporters are and your current achievements.  You could also consider using the artwork as a background screen shot/photo on your phone or computer.

Step IV – Action and Alignment

The artwork should give you directions.The next step is to live in alignment with your dreams and purpose as defined in the artwork.  The Action Steps – living in alignment- may include you getting a mentor, asking somebody for help, taking a job in a field related to your dream (paid or as a volunteer), changing your clothes, reconsidering and changing your friends, considering or identifying books you must read.  The Action Steps need to be concrete to bring you closer to your dreams.

Also, part of “living in alignment” that you should not forget is to seek advice from the Affirmative Art Team to stay aligned with your dreams, and rework your artwork (as often as possible) with your group, using the group’s feedback to make your dreams as concrete as possible.

The Affirmative Art Team is constantly on the move empowering dreams through Affirmative Art. To date, the team has held numerous Affirmative Art workshops with thousands of youth in Uganda, including places like Kitgum, Kampala, Mubende, Mitiyana, Fort Portal, Gulu, and Mbale. Several areas in Kenya have been covered as well, including places like Kisumu, Homa Bay, Nakuru, Nairobi, Athi River, Voi, Mombasa and Diani.

The Affirmative Art’s mission is to spread Affirmative Art to the world using every tool at their disposal, including audiovisual and social media. This effort is spearheaded at the A-lab, is the home of Affirmative Art. It is located at Nagenda Academy of Art and Design (NIAAD) along Entebbe road, in Uganda. Here Affirmative Art is taught as a class to create more awareness among students about their vision for their life, and how education is one tool for getting closer to the dream. It is also the base for a number of experimental Affirmative Art projects, like Affirmative clothing “wear your dream” and Affirmative pottery, new style Affirmative paintings etc.

Worthy to mention, Eirik Jarl Trondsen, the founder facilitated several Affirmative Art workshops in USA, where, as a 2015/2016 Special Program for Urban and Regional Studies (SPURS) Fellow, he first introduced the Affirmative Art concept to the prestigious Massachusetts Institute of Technology (MIT) in Boston. In May 2016,Eirik and a newly formed USA based Affirmative Art team went on a tour from Boston, on the East Coastto Los Angeles, on the West Coast. The US tour engaged and empowered hundreds of individual’s dreams. MIT made a film about the tour, which is available on YouTube.  https://www.youtube.com/watch?v=JbY35vmghQ8&t=71s

Affirmative Art is an initiative that can proudly be attributed to East Africa and it has the potential to spread to, and be adopted by, the rest of the world as a new movement for the realization of individual and community dreams. Eirik and company has effectively underlined the gist of the British author, John Foster’s adage, which states: “A man without decision of character can never be said to belong to himself… He belongs to whatever can make captive of him.”

 

 

Ekifananyi Kya Muteesa

Ekifananyi Kya Muteesa Press Image 4 (1)

Matt Kayem’s interpretation of Stanley’s photograph, photographed by Andrea Stultiens (2016)

 Ekifananyi Kya Muteesa: An exhibition exploring the first photographic portrait made in Uganda. Makerere University Art Gallery/IHCR, April 14th – May 14th. Opening reception April 13th, 5pm.

From a letter, written by Henry Morton Stanley:

            Ulagalla, Mtesa’s Capital, Uganda, […] April 12th 1875

Mtesa is about thirty-four years old, and tall and slender in build, […] but with broad shoulders.

            His face is very agreeable and pleasant, and indicates intelligence and mildness.  

If we would be able to go back 142 years in time we would find ourselves in the middle of Ssekabaka Muteesa I’s reign over Buganda. We might have been among the crowd welcoming Henry Morton Stanley who visited Buganda on his journey to confirm the source of the Nile. It is widely known that Muteesa’s welcome of Stanley resulted in a call for missionaries to come to Buganda. Little known is that Stanley was the first visitor to Buganda who carried a photo camera with him.

Stanley used one of his last glass plate negatives to portray Kabaka Muteesa with his chiefs. This led to depictions of Muteesa that are widely known in Uganda. The photograph these depictions are based on, on the other hand, is not part of a Ugandan collective memory.

In the 1870s it was not yet possible to reproduce photographs in print. The two volume book that reports on Stanley’s journey through East Africa is therefore illustrated with woodcuts. Some of these woodcuts are based on photographs by the author. The illustration of Muteesa and his Chiefs is one of these pictures. In this interpretation of the group portrait the facial features of the men depicted seems to deviate from the photograph. The men are no longer black. It would not be a stretch to call the woodcut a mis-interpretation.

The combination of the observed absence of the photograph from collective memory and its misinterpretation led to this exhibition. It shows responses to the photograph by a wide range Ugandan artists and picture makers and Dutch artist and researcher Andrea Stultiens who initiated the project. Some of the artists explore the photograph formally. They make us see things in the photograph that we might not have noticed with their skillful interpretations. Others approach the picture and its historical and contemporary context in a critical manner. They are questioning the unfolding of history, and want us to think about what could have been had events taken different turns.

The Photograph was made by Henry Morton Stanley (1875). Collection Museum for Central Africa, Tervuren, Belgium.

Ekifananyi Kya Muteesa is on display from April 14th till May 14th 1974. It includes contributions from (in alphabetical order): Andrea Stultiens, Canon Griffin, Daudi Karungi, Eria Nsubuga, Eva Dembe, Fred Ndaula, Henry Mzili Mujunga, Ian Mwesiga, Margaret Nagawa, Martha Namutosi, Matt Kayem, Migisha Boyd, Nathan Omiel, Odama Jacob, Papa Shabani, Piloya Irene, Ronex Ahimbisbwe, Sanaa Gateja, Timothy Erau, Violet Nantume, Wasswa Donald.

During the opening of the exhibition on April 13th Timothy Erau will make one of his ‘light paintings’ of a performance/installation with and by Martha Namutosi / Piloya Irene / Nathan Omiel / Sanaa Gateja and students from UCU Mukono.

Ekifananyi Kya Muteesa was curated by Andrea Stultiens with Robinah Nansubuga, Martha Kazungu and Canon Griffin. A book featuring the work of all the participating artists will be published later in 2017.

Please note:

A free copy of the photograph made by Henry Morton Stanley can be picked up by visitors to the exhibition as long as the print-run lasts. Visitors are requested to help spread the presence of the photograph in Uganda by photographing it in their respective houses and, in turn sharing that photograph on the HIPUganda Facebook page.

On April 29th Maisha Moto, the monthly talks at Maisha Gardens in Buziga, will be devoted to HIPUganda’s Ekifananyi publications. The afternoon’s motto is ‘How to have a conversation with the past’, and will include discussions with Henry Mzili Mujunga, Violet Nantume, Canon Griffin and Andrea Stultiens.

Ekifananyi Kya Muteesa is made possible with the support of: Hanze University of Applied Arts Groningen, Mondriaan Foundation Amsterdam, Embassy of the Netherlands in Kampala.

Migisha Boyd’s interpretation of Stanley’s photograph (2016)

 

 

 

 

 

 

Coffee Cameras: Documenting climate change in Uganda

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This exhibition opening on 27th through 30th March features  photographs on climatic change by a group of 12 coffee farmers as well as Fulbright-National Geographic Storytelling Fellow Tim McDonnell. We shall have a discussion about the images and their implications, featuring, among others, Tim McDonnell, IITA scientist Onno Giller, farmer-photographer Sam Massa from 4:00pm to 6:00pm at Makerere Art Gallery on the day of the opening.

In February, twelve coffee farmers on Mount Elgon spent a week using disposable cameras to document how climate change is impacting their lives. Their images offer a beautiful, creative, and intimate insight into coffee farmers’ daily lives and the struggles they face from drought. Coffee is Uganda’s most important industry, and it faces an existential threat from climate change. Already, farmers across the country are suffering from rising temperatures and unpredictable seasonal rainfall.Smallholder farmers are among the people who are most victimised by climate change, yet they rarely have a chance to tell their own story to the public. This project aims to change that.

This event, a collaboration between the US Fulbright program, National Geographic, and the International Institute of Tropical Agriculture, will be the first gallery exhibition of these photos.

Different But One – 21

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Stephen Gwoktcho, Austerity ,Oil on canvas

Different But One is an annual exhibition  featuring the most recent bodies of work by the teaching staff at Margaret Trowell School of Industrial and Fine Art (MTSIFA). For the past 21 years, the show has been taking place at Makerere Art Gallery/ Institute of Heritage Conservation and restoration. The exhibition opened on the 18th of February 2017 and it will end on 15th March 2017.

In her opening remarks,the Curator Rivka Uziel expressed gratitude towards all the members of staff who participated in this exhibition, as well as thanked them for their trust and cooperation.

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Curator Rivka Uziel (extreme left) having a chat with some of the guests at the exhibition opening.

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Philip Kwesiga, Ceramic Vases

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Installation shot

The dean of MTSIFA , Dr. Maria Kizito Kasule mentioned that the work exhibited must not be mere artworks but rather visual presentations and papers demonstrating  content and methods of the design process as expected in the field of visual arts.

Participating members  include: Rivka Uziel, Maria Kizito Kasule (PhD), Lilian Nabulime (PhD), Prof Philip Kwesiga (PhD),Stephen Gwoktcho, Bruno Sserunkuuma, Ronald Mpindi (PhD), Assoc Prof George Kyeyune, Fred Kizito Kakinda, Donald Nantagya, Annette Sebba N, Rose Kirumira (Phd), Edward Balaba, Paul Lubowa, Abbey Kato, Assoc Prof  Francis Ifee, Rina N Edopu, Godfrey Banada, Jacob Odama, Andrew P Yiga(PhD), Joseph Sematimba, Angelo Kakande (PhD), Amanda Tumusiime (PhD).

 

 

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