Exhibition ‘Identity bluffs’

‘Identity bluffs’ is the second exhibition to take place in the framework of ‘Project 1975’. Bringing together works mostly based on photography and video, the exhibition sheds light on the ways in which migratory processes related to globalisation affect the featured artists’ practices. Read more…

Mahmoud Khaled


Article Kerstin Winking – George Osodi (Metropolis M)

George Osodi - The Black Street Series Stavanger V (2008)

George Osodi is an artist who has taken the relation between Europe and Africa as a point of departure. The work of the Nigerian-born Osodi, whom most will know from his participation in Roger Buergel’s documenta 12, tells about the effects of globalisation on people’s lives with great empathy: his art concerns Africa, but it also accentuates the continent’s involvement in transnational processes.

Click here to read Kerstin Winking’s article ‘The Ethical Revolution’ on the work of George Osodi.

Review Dak’ Art 2010: Looking back, facing forward? (Nafas Art Magazine)

In a review for Nafas Art Magazine, Jelle Bouwhuis and Kerstin Winking discuss the ninth edition of the Dak’Art Biennial. Unlike the other editions, the exhibition was now divided into an international and a retrospective part. This latter part consisted of works of artists who won the Grand Prix Leopold Sedar Senghor, amongst others Mounir Fatmi (2006), Viyé Diba (1998) and also the late Moustapha Dimé. Because of this retrospective emphasis, the international part of the exhibition was a small presentation of only 27 artists. However, the work of the 2010 Senghor Award, the Congolese-living in France Moridja Kitenge Banza, was memorable, Bouwhuis and Winking argue.

Click here to read the full review ‘Looking back, facing forward’ of Jelle Bouwhuis and Kerstin Winking on the website of Nafas Art Magazine.

Review Jelle Bouwhuis over Hala Elkoussy’s ‘The Myths & Legends Room – The Mural’

Jelle Bouwhuis discusses Hala Elkoussy’s recent work ‘Myths & Legends Room – The Mural’. The work measures three by nine meters, and deals with the reality of life in Cairo, the city that lies at the base of almost all of Elkoussy’s works. Elkoussy produced a collage-landscape out of photographs from several contexts. Artistically, this large mural therefore exploits the ideas of the photomontage that has become ubiquitous through the advertisement industry. However, for a better understanding of the Mural’s creative background, first reference has to be made to commemorative wall paintings such as those in the National Military Museum in Cairo depicting various war scenes from Egypt’s history, the heroism of the military, and its popular support.

Click here to read the full article on the website of Nafas Art Magazine.