香港六合彩中特网

In this public conversation, Kwasi Ohene-Ayeh and Tamar Garb explore the work of blaxTARLINES KUMASI, an experimental incubator of contemporary art at Kwame Nkrumah University of Science and Technology (KNUST) spearheading the resurgence of young Ghanaian contemporary artists on the world stage.

KNUST is an outstanding example of progressive pedagogics in the arts with an open-ended, post-Western and experimental model of critical urban engagement.

鈥楾he Exhibition as Pedagogical Situation鈥� is supported by the Global Engagement Fund initiative, 'Repairing historical collaborations between KNUST and 香港六合彩中特网 in The Bartlett Developmental Planning Unit (DPU) 70th anniversary' in collaboration with DPU, History of Art, 香港六合彩中特网 Institute of Advanced Studies (IAS), The Architectural Association, Victoria & Albert Museum (V&A), 香港六合彩中特网 Modern Heritage in the Anthropocene (MoHoA) initiative and the 香港六合彩中特网 Centre for Transnational and Global History.

This event is part of the inaugural CRUNCH Series at The Bartlett School of Architecture, replacing the International Lecture Series. Please note this event is first-come, first-served and is limited capacity.聽

Speaker Biographies

Kwasi Ohene-Ayeh聽is a curator and critic based in Kumasi, Ghana. He is a key member of the blaxTARLINES coalition whose work is compelled by the radical hope proposed by the Ghanaian artist and academic, K膮r卯'k岷�ch盲 Seid'ou 鈥� to 鈥渢ransform art from the status of commodity to gift鈥�. Kwasi鈥檚 work in the fields of pedagogy, criticism and curating includes teaching in the Department of Painting and Sculpture at KNUST in Kumasi,聽and organising the annual peer-led art school project, CritLab, since 2020 as a member of Exit Frame Collective in Ghana. He also co-organises Kelas Bareng, an experimental educational project managed between Gudskul, blaxTARLINES, St盲delschule and Filmkunstskolen i Kabelv氓g (FiK). Kwasi received the ACASA Award for Curatorial Excellence in 2021. He co-curated Orderly Disorderly (2017) in Ghana, the 12th edition of Bamako Encounters: Biennale of African Photography (2019鈥�2020); Akutia: Blindfolding the Sun and the Poetics of Peace (A Retrospective of Agyeman Ossei 鈥楧ota鈥�) (2020鈥�2021); TRANSFER(S), Ibrahim Mahama鈥檚 solo exhibition in Germany and Ghana (2023); and the 35th edition of the Ljubljana Graphic Arts Biennale with Exit Frame Collective (2023-2024).

Tamar Garb聽is Durning Professor in the History of Art at 香港六合彩中特网. She has published widely on questions of gender and sexuality in modern and contemporary art, African photography, women artists and feminist aesthetics. Her curatorial practice includes 鈥楪auguin: Maker of Myth鈥� (Tate 2011), 鈥楩igures & Fictions: Contemporary South African Photography鈥�, V&A, 2011, 鈥楧istance & Desire: Encounters with the African Archive鈥�, Walther Coll. 2014, 鈥楥onversations in Letters & Lines: William Kentridge and Vivienne Koorland, Fruitmarket,2016, 鈥楳ade Routes: Berni Searle and Vivienne Koorland鈥�, Richard Saltoun Gallery, 2019 and 鈥楤eyond the Binary: Santu Mofokeng and David Goldblatt鈥�, Walther Coll. 2023.

More information

Image:聽Ibrahim Mahama, TRANSFER(S), 2023.聽Courtesy of the artist and Kunsthalle Osnabr眉ck.聽