Main image: Installation view of ‘International Congress of African Culture’, 1962, a pan-African exhibition at the Rhodes National Gallery, Salisbury, Rhodesia (now Zimbabwe), which set a precedent for ‘Magiciens de la terre’, the Pompidou Centre, Paris, 1989, an exhibition frequently featured in my research. Courtesy: National Gallery of Zimbabwe, Harare In the past few years, […]Read more "Curation, Exhibition-Making and the Construction of Perspective"
The visual depiction of natural forms have been utilised in an educative and explanatory manner for centuries, particularly through medical drawings and photograms. In recent years, this ‘supporting role’ of art in science has come to involve a number of things. Indeed, it seems to me that in the context of rapid technological advancements, there […]Read more "The Relationship Between Science and Art"
Definitions of the term ‘sublime’ has undergone a multitude of fluctuations and scholarly influences since the Greek work Perì hýpsous, attributed to Cassius Longinus sometime in the 1st-3rd century AD. Through the study of the origins, meanings and various uses of the term sublime since Longinus, it is thought that its contemporary interpretation, in relation […]Read more "Debates in Art History (part 1): THE SUBLIME"
As explored in the exhibition HUMAN +: The Future of Our Species, 2015-16. Pondering Our Future – Nostalgia as a Method of Display As explored in the exhibition HUMAN +: The Future of Our Species, 2015-16 Exhibitions like HUMAN + that intend to shed light upon the complications that arise in the face of human […]Read more "PONDERING OUR FUTURE – Nostalgia as a Method of Display"
This particular write-up was a favourite of mine last year. This is the result of a few musings regarding Turner’s controversial depiction of the slave trade and how poetry or other forms of art can highlight certain historical and epistemological shortcomings. The topic drove home how history is written and re-written with a lacklustre examination […]Read more "“The Slave Ship” and the ghosts that reside"
Ed Atkins, Warm, Warm, Warm Spring Mouths, 2013 Photography by @amsterdamant // Since my first puzzled encounter with Ed Atkins’ work at the Serpentine last summer, his pieces have slowly started to creep up on me, lingering in my mind. His Recent Ouija exhibition at the Stedelijk museum in Amsterdam firmly placed him among my favourite provocateurs […]Read more "A Surrogate For A Real Fucking Experience"