LAGOS BIENNIAL CURATORIAL INTENSIVE PROGRAMME – OPEN CALL
28th October – 2nd November 2019
The Lagos Biennial is proud to announce the First edition of its Curatorial Intensive Programme scheduled to be held during the Lagos Biennial this October.
The week-long programme is designed to provide basic technical and theoretical knowledge in the field of curating to emerging curators. Participants will receive first-hand advice from seasoned professionals for an on-going or future project. The programme seeks to facilitate new approaches in assessing knowledge and approaching topics, situations , and linguistics critical to African narratives and perspectives. Participants will undertake rigorous sessions designed to give precedence to their own world view, while re-assessing popular terminologies and trends which are used to situate Africa in the global art discourse.
Emerging curators working on and off the continent are invited to apply to participate in a one-week intensive programme which will take place in Lagos Nigeria from the 28th October to 3rd November, 2019. The intensive will run through the first week of the Lagos Biennial.
Selected participants will have daily interactions with the Faculty – seasoned curators who will engage the participants in various sessions targeted at passing on practical knowledge and insights from the field.
- N’goné Fall (Chief Facilitator)
- George Mahashe
- Kwasi Ohene-Ayeh
- Dana Whabira
- Samuel Leuenberger
- Patrick Mudekereza.
How to Apply
Interested participants are requested to send a one-page letter of motivation via email to: email@example.com before September 10, 2019.
The email should include:
- Date of Birth
- Country of residence
- Description of, or links to previous or current curatorial or research projects.
The Lagos Biennial cannot cover flights or accommodation for participants to this programme. We are happy to help applicants identify possible funding sources and supply letters of support for funding applications.
- Registration is free.
- A total of 20 seats are available.
- Applications are welcome from all over the world
- All communication and correspondence will be in English. Emerging Curators from across the world are welcome to apply.
- Selected applicants will be contacted on 12 September 2019
The Curatorial Intensive is supported by Prohelvetia Johannesburg, with additional finance from the Swiss Agency for Development and Cooperation.
Meet the Faculty
N’goné Fall ( Chief Facilitator)
N’Goné Fall is an independent curator, art critic, and consultant in cultural engineering. A graduate of the École Spéciale d’Architecture in Paris, she was the editorial director of the Paris-based contemporary African art magazine Revue Noire from 1994 to 2001, and editor of numerous books on contemporary visual arts and photography in Africa including An Anthology of African Art: The Twentieth Century, Photographers from Kinshasa and Anthology of African and Indian Ocean Photography: a century of African photographers. She has curated exhibitions in Africa, Europe, and the United States. She was one of the curators of the African photography biennale in Bamako, Mali, in 2001 and a guest curator at the 2002 Dakar Biennale in Senegal. As a consultant in cultural engineering, she is the author of strategic plans, orientation programmes, and evaluation reports for Senegalese and international cultural institutions. She is an instructor at the Senghor University in Alexandria, Egypt, and teaches curatorial process, communications strategy, and methodology in the department of cultural industries. Fall is also a founding member of the Dakar-based collective, GawLab, a platform for research and production in the field of new media and visual arts.
Born in 1982 in Bolobedu, South Africa, Mahashe operates within the wider field of photography, particularly at the intersection of photography, anthropology, archives and artistic practice. He is currently working on ‘defunct context’, a series of interventions hosted by the Anthropology Museum at the University of Witwatersrand. Mahashe holds a PhD in Fine Art from the University of Cape Town and lectures in anthropology at the University of the Witwatersrand where he is responsible for the Anthropology Museum and developing a programme on public cultures.
His Current projects include Camera Obscura #0, Mefakeng (2019) at Modjadji Nature Reserve in Bolobedu; as well as Modjadji le Dikolobjana in collaboration with the Zurich University School of the Arts’ Transdisciplinary programme and researchers of the University of Geneva’s Astronomy Department as part of the Artist in Labs Residency programme. Museum projects include, ––defunct context: Ejaradini (2019), by MADEYOULOOK at Anthropology Museum, Johannesburg. Group exhibitions include participation in Lifescapes-Six Object Biographies at Wits Art Museum (2017), ‘The Jerusalem Show VIII: Before and After Origins’, Qalandiya International Biennale (2016) and the 10th and 11th Bamako Encounters African Biennale of Photography (2015/7).
Kwasi Ohene-Ayeh is an artist, curator and writer based in Kumasi, Ghana. He has co-curated ‘Silence Between the Lines: Anagrams of Emancipated Futures’ (2015) and ‘Orderly Disorderly’ (2017), both organized by blaxTARLINES KUMASI and was guest curator for the inaugural Lagos Biennial (2017). Ohene-Ayeh recently curated ‘Spectacles. Speculations…’ (2018)– featuring 16 artists from Ghana, Holland and Colombia, in Kumasi. He is a PhD student at the Kwame Nkrumah University of Science and Technology in Ghana and is presently co-curator for the 12th edition of Bamako Encounters: Biennale of African Photography themed “Streams of Consciousness” from November 30th, 2019 – January 31st, 2020.
Dana Whabira is a Zimbabwean artist, architect and cultural facilitator, who lives and works in Harare. An architect by training, she studied art and design at Central Saint Martins College in London (2011). Whabira has exhibited widely; she represented Zimbabwe at the 57th Venice Biennale (2017) and participated at the Dak’art Biennale (2018), in addition to taking up art residencies and giving talks locally and internationally. In 2013, Whabira founded Njelele Art Station, an urban laboratory that focuses on contemporary, experimental, and public art practice. Njelele is a meeting place for critical dialogue where ideas are birthed and resonate out into the city through projects that provoke discussion and engage with the general public.
Independent curator, Samuel Leuenberger has been running the not-for-profit exhibition space SALTS in Birsfelden, near Basel, Switzerland, since 2009, promoting young Swiss and international artists. Since 2016, he is the lead curator of Art Basel’s Parcours sector, a large inner city sculpture and performance project. Since 2012, Leuenberger has worked with the Swiss Arts Council ProHelvetia on several occasions, including a presentation of the ‘Cahiers D’Artistes’, (artists’ books) in 2013. More recently, he was an associate curator of Salon Suisse 2017, the collateral public programme of the Swiss Pavilion at the 56th Venice Biennale. Alongside the work at SALTS and Parcours, he has been appointed as new Mediator for the New Patrons (Les Nouveaux Commanditaires) in Switzerland. The role of the New Patrons is to offer an open, democratic platform, where citizens from all backgrounds can engage in a process of commissioning, producing and presenting an artwork, a place of encounter or temporary event in the public space. As a committee member of Basel’s cultural department, Kunstkredit Basel – the nation’s oldest City Arts Council – he plays a role in supporting the local and regional art scene by advocating and advising on funding allocation. He regularly teaches at art schools, and is currently at the ZHDK in Zurich.
Patrick Mudekereza is a writer and cultural operator born in 1983. He is the founding director of Waza Art Centre in Lubumbashi, D.R. Congo. He holds a Master’s degree in history of art and also has a degree in industrial chemistry. He initiated and collaborated on SD as an administrator and curator for visual arts at the French Cultural Centre in Lubumbashi several art projects, publications and exhibitions both in Congo and internationally. He worked and editor of the cultural magazine Nzenze, and led the three first editions of Rencontres Picha, Biennale de Lubumbashi. He was a member of the steering committee of the African cultural network Arterial Network from 2009 to 2014 and of the International Biennial Association from 2014 to 2017. He is the chair of Liboke, a federation of 15 independent art centres in DRC. He lectures at Witwatersrand University in Johannesburg, South Africa. He received the Congolese National Award for Art, Letters and Science in 2015.
Kathryn Weir is a curator and writer based in Paris. She created ‘Cosmopolis’ at the Centre Pompidou in 2016 as a platform for activities ranging from residencies to exhibitions, structured around biennial research themes and engaging with multidisciplinary collaborative practices. The platform constructs bridges between new forms of creative experimentation and critical vocabularies from contemporary theory, and between reconceived geographies and histories. ‘Cosmopolis #1: collective intelligence’ was presented at the Centre Pompidou in 2017, and ‘Cosmopolis #1.5: enlarged intelligence’ in Chengdu in 2018. ‘Cosmopolis #2: rethinking the human’ opens on 23 October 2019 in Paris. She also launched the new annual event ‘MOVE: performance, dance, moving image’ at the Centre Pompidou in 2017. One of the curators of the 5th, 6th and 7th Asia-Pacific Triennials between 2006 and 2013, her other past curatorial projects include ‘Collectively’ (2019), ‘Tracey Moffatt: Spirited’ (2014-2015), ‘Sublime, Passages to the Infinite’ (2014-2015), ‘Action, Hong Kong Style’(2013), ‘Sculpture is Everything’ (2012), ‘Lightness & Gravity’(2012), ‘21st Century: Art in the first decade’ (2010-2011), ‘Small Acts’(2009), ‘The Leisure Class’ (2007-2008), ‘Hong Kong, Shanghai: Cinema Cities’ (2007), ‘Kiss of the Beast’ (2005-2006) and ‘The Nature Machine: Contemporary Art, Nature and Technology’ (2004-2005). Her published books and exhibition catalogues include Modern Ruin (Queensland Art Gallery / Gallery of Modern Art 2008), The View From Elsewhere (Sherman Contemporary Art Foundation, 2009), Sculpture is Everything (Queensland Art Gallery / Gallery of Modern Art, Brisbane, 2012), and Gorilla (with Ted Gott, Reaktion Books, 2013). Other writings address the works of contemporary artists including Cabello/Carceller, Inci Eviner, Shilpa Gupta, Clarisse Hahn, Romuald Hazoumè, Ho Tzu Nyen, MadeIn, Aernout Mik and Lee Mingwei.
Antawan I. Byrd
Antawan I. Byrd is Assistant Curator of Photography at the Art Institute of Chicago, and a PhD candidate in modern and contemporary art history at Northwestern University. His dissertation, Interferences: Sound, Technology, and the Politics of Listening in Afro-Atlantic Art, examines how artists in Africa and the African diaspora combine sound and visual technologies to address mid-twentieth century politics.
Byrd was co-curator of Kader Attia: Reflecting Memory (2017) at Northwestern’s Block Museum of Art, and an associate curator for Telling Time, the 10th Bamako Encounters Biennale of African Photography (2015). He edited the biennale’s publication (Kerher Verlag, 2015), and co-curated [Re]Générations: Une exploration des archives des Rencontres de Bamako, which received the 2017 Award for Curatorial Excellence by the Arts Council of the African Studies Association. Byrd was a curatorial assistant for J.D. ‘Okhai Ojeikere: Moments of Beauty (Museum of Contemporary Art Kiasma, Helsinki, 2011), and a Fulbright fellow at the Centre for Contemporary Art, Lagos from 2009-2011. His writing has recently appeared in Sanlé Sory: Volta Photo (Steidl & The Art Institute of Chicago, 2018), Recent Histories: Contemporary African Photography and Video Art (Steidl & The Walther Collection, 2017), and “Platform Africa” (Aperture, May 2017).