The article of this month of May delves into the role of Ibrahim Mahama, a Ghanaian artist and curator, in the 35th Ljubljana Biennale, as well as into the vibrant art scene in Ghana.

Ghanaian artist Ibrahim Mahama has recently discussed his artistic contributions, including his Barbican commission and curating the 35th Ljubljana Biennale. His installation, Purple Hibiscus (2023–24), was unveiled at the Barbican’s Lakeside Terrace, featuring 2,000 square meters of handwoven and embroidered fabric created in collaboration with over 400 artisans from Tamale, Ghana. Mahama’s work often involves jute sacks, which he has used in various contexts, such as wrapping Torwache gatehouses in Kassel for documenta 14 and covering a former shopping mall in Osnabrück with textiles and smocks from Ghana. His two-channel video, Exchange Exchanger (2013–16), captures the lifecycle of these materials, from storage for cocoa beans to their repurposing by laborers.

Mahama began his architectural wrappings in Ghana, covering the modernist Unity Hall at the Kwame Nkrumah University of Science and Technology (KNUST) in Kumasi. KNUST has significantly influenced Ghanaian art, with its faculty founding the blaxTARLINES collective, a key player in the global art scene. He has also wrapped historical grain silos in Ghana, linking them to Nkrumah’s anti-neocolonial campaigns.

Mahama continues to honor Nkrumah’s legacy through cultural spaces he founded in Tamale, such as the Savannah Centre for Contemporary Art (SCCA) and Red Clay Studio. In 2023, Red Clay’s distinctive architecture was recreated for the São Paulo Biennial. Mahama curated the 35th Ljubljana Biennale of Graphic Arts, emphasizing the historical connections between the Non-Aligned Movement’s founders and their contemporary relevance.

The full article, which includes a captivating interview, is available in the source link.

Source: Ocula