Kwasi Ohene-Ayeh 2018/19
‘Curators in Residence’ grant scheme organised by KfW Stiftung in collaboration with DAAD Artists-in-Berlin Programme
Kwasi Ohene-Ayeh (born in Accra/Ghana in 1986) is a curator, writer and artist based in Accra and Kumasi/Ghana. He permanently works, as a curator and PHD student, with blaxTARLINES KUMASI – the project space and contemporary art incubator at the Department of Painting and Sculpture, Kwame Nkrumah University of Science & Technology (KNUST) in Ghana. Ohene-Ayeh recognizes writing and curating as necessary extra-artistic roles which enable him to critically respond to concerns related to the Ghanaian art scene in conversation with global matters. He was a guest curator for the inaugural Lagos Biennial, “Living on the Edge” (2017) and is the co-editor of the monograph "Ibrahim Mahama Exchange-Exchanger (1957-2057)" published by Buchhandlung Walther König on the occasion of Ibrahim Mahama’s participation in documenta 14 in Athens and Kassel (2017). He actively writes and publishes texts on www.iubeezy.wordpress.com.
Essay "On Universality and Curating in the Void" (created for the lecture "On Universality and Multiplicity: Curating from the Void" on 25. January 2019 in Berlin)
On Universality and Multiplicity: Curating from the Void
Lecture by Kwasi Ohene-Ayeh and Tracy Naa Koshie Thompson
January 25, 2019, 7 p.m.
During their presentation, Kwasi Ohene-Ayeh and Tracy Naa Koshie Thompson will introduce their respective independent curatorial and artistic practices as examples of the “silent revolution” initiated by blaxTARLINES KUMASI—the contemporary art incubator based at the Department of Painting and Sculpture at Kwame Nkrumah University of Science and Technology (KNUST)—towards universalism, in the context of contemporary art practice in Ghana.
Kwasi Ohene-Ayeh is an artist, curator and writer based in Kumasi, Ghana. He is the current grant holder of KfW Stiftung’s programme 'Curators in Residence: Curating Connections’ in collaboration with the DAAD artists-in-Berlin programme. Ohene-Ayeh has co-curated Silence Between the Lines: Anagrams of Emancipated Futures (2015) and Orderly Disorderly (2017), both organized by blaxTARLINES KUMASI. He was guest curator for the inaugural Lagos Biennial (2017) and recently curated Spectacles. Speculations… (2018), featuring 16 artists from Ghana, Holland and Colombia, in Kumasi. He is currently a PhD student at KNUST and publishes essays on www.iubeezy.wordpress.com.
Tracy Naa Koshie Thompson (Ghana) explores the latent ability of ubiquitous materials (synthetic or natural) to transform into unrecognizable, strange, new and mimicry forms. For this purpose, she employs alchemical processes of dissolution and crystallization of the varied morphology of things. Thompson’s emancipated approach to making art creates a disposition that transcends given notions of the art apparatus itself and questions what it could potentially be. She has participated in two large-scale exhibitions organized by blaxTARLINES KUMASI in Accra, namely Cornfields in Accra (2016) and Orderly Disorderly (2017). Thompson is an MFA student at KNUST and is currently participating in the intercontinental exchange programme at Städelschule in Frankfurt, Germany.
You can find the recording of the full event on our Youtube-channel.
Lecture by Kwasi Ohene-Ayeh, "In Terms of Images"
14 November 2018, 7pm
In this lecture, Kwasi Ohene-Ayeh will explain the curatorial decisions made for the exhibition he recently curated in Kumasi, Ghana, titled “Spectacles. Speculations…” (February - July 2018). The exhibition features 16 artists from Ghana, Colombia and Holland whose works employ visual, gestural and auditory techniques of image production. An ensemble of mediums, including braille, text, photography, video, sound, black box theatre, sculpture, and spoken word poetry, are used as aesthetic forms through which to probe the contradictory unity that exists between separation and participation in relation to the capitalist enigma of the spectacle.