FNB Joburg Art Fair 2017

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Sandton Convention Centre | Stand C27
8 – 10 September 2017
Sanaa Gateja (Uganda)
Stacey Gillian Abe (Uganda)
Eria Sane Nsubuga (Uganda)
Gosette Lubondo (DRC)

 

Sanaa Gateja

b.1950 lives and works in Uganda

I am traversing on a web of paths – The African Journey – on a quest of intricate stories past and future.
Questioning and transforming through diverse materials selected to speak of the unresolved Passions and Truths. Our past is a Tapestry of Bark cloth on which I lay Printed Paper dying from the Digital Revolution. Such is our present Embalmed for future generations.

Sanaa Gateja an exceptional artist and jeweler has been nicknamed ‘The Bead King’ in his native Uganda.
He derives this name from being the inventor of beads made from recycled paper which he uses to create pieces of various designs and composition. As an artist his work ethic and preference for recycled materials suite the global consciousness of present times which highly regard the environment and its preservation. Quite ironical given he started out as an artist in the 60s!

Sanaa’s artwork could be described as mixed-media experimental abstract art. His pieces emphasize use of beads, bark cloth and sometimes raffia to depict different scenes that he has encountered. The Bark cloth Tree with many names from the Great Lakes Region: Mutuba, Mutooma, Muvumu is an Environmental miracle tree of the Ficus family. The tree will produce skin up to four times and has medicinal advantages for Human and Animals. This Leguminous tree is fodder for Animals and will grow to full size within three years.

Gateja is indeed one of Uganda’s most universally acclaimed artists. Sanaa holds a wealth of experience and has several influences to his work having studied both in the UK (London college of Art and Design) and in Europe’s culture capital: Florence, at the Universita Internazonale dell Arte.

Currently the only Ugandan exhibiting at the Museum of Arts and Design (MAD) in New York, Sanaa is very active and has exhibited extensively since 1980 in Uganda, Kenya, Rwanda, UK, USA and Germany among other countries.

SELECTED EXHIBITIONS:
2017 Art Paris Art Fair
2017 A love that dares – Afriart Gallery, Kampala
2017 Cape town Art fair
2016 Themes and Variations gallery London – Seeking Africa|Design/Art across a continent.
2016 FNB Joburg Art fair- Featured artist
2010 MAD Museum of Art and Design New York- The show is still travelling within US Museum Galleries
2007 Expo Gwanju Korea – Recycled paper Jewellery
2006 Sankaranka Gallery Brooklyn NY – Solo Exhibition Art
2006 Mbari Institute Washington DC – Solo Exhibition
2004 Novotel Kigali Rwanda – Solo Exhibitions of Art
1996 Danish Chamber of Commerce Copenhagen – group show
1991 Ludwig Beck Munich Germany – Group Jewellery and Art shows in Cologne.
1990 Berlin International Trade Fair – group show. Recycled paper beads in jewellery
1986 The Round House Camden London – Paintings and Jewellery – group Exhibition
1985 Royal Festival Hall London – Gold Silver and Metal jewellery – Group New Horizon Exhibition

Home estate, 2017
Paper beads stitched with raffia on bark-cloth
160 x 160 cm
© Sanaa Gateja
Courtesy Afriart Gallery, Kampala.
Lady, 2017 Paper beads stitched with raffia on bark-cloth 201 x 62 cm © Sanaa Gateja Courtesy Afriart Gallery, Kampala.
Advanced indeed, 2017 Paper beads stitched with raffia on bark-cloth 201 x 62 cm © Sanaa Gateja Courtesy Afriart Gallery, Kampala.
Expectant, 2017 Paper beads stitched with raffia on bark-cloth 200 x 64 cm © Sanaa Gateja Courtesy Afriart Gallery, Kampala.
Stacey Gillian Abe

b. 1991, lives and works in Uganda

Stacey Gillian Abe graduated with a BA Hons in Art and Industrial Design from Kyambogo University Kampala, Uganda 2014. Her installations and performances are integrations between man and the spiritual realm and more believing these spheres influence and form our individual identities.
Her concepts materialize into created imagined spaces that probe thought on identity, spirituality and cultural mysticism like; Seat of Honor (2017), Pareidolia (2017), EnyaSa (2016), Strange fruit Konyagi (2015), with the installations taking centre stage as they star in these new worlds.

As the process highlights the strength and fragility of the female mind in the self, each space that Abe works on as its own contexts and gets its own interpretations. Besides participating in group exhibitions like Women without Borders, Institut Francais Kinshasha (2014), Kampala Contemporary, Circle Art Agency Kenya (2016), Eroticism and Intimacy Faces, Places and Paths, the Underground Art Space (2016), Being Her(e) –Angola Luanda (2017) and The 2nd Kampala Art Biennale-KAB (2016). Workshops like; (Re)-Thinking Feminism and Black womanhood Iwalewahaus-Germany, Goethe Institute (2016), Decolonizing the Museum (2017) Abe also completed a residency at 32° East | Ugandan Arts Trust (2014); Nafasi Art Space Dar es Salaam (2015); Culture Vultures Morocco (2016), East African Soul TrainEAST (2017) and holds a certificate in Cultural Leadership-Arterial Network, Goethe Institute (2015).

She is a receiver of the new talent award (2nd place) – the boda boda project KLAART 014 and a Prince Claus fund award (2016). She was nominated for an artist in residency fund program for African artists through Africa Centre 2016/2017 and also listed among the young provocative African artists to watch in the continent- featured in ‘This is Africa’ and ‘Africa.com’ (2016).

Seat of Honor (2017)
Performance installation
Medium: Molding clay, plaster of paris, gauze thread, fabric, acrylics.

“I am not who I believe to be, I need to hunt deep inside me for my soul. I am torn between what is and what could be channeling my inner thoughts, moods, manifesting and coming face to face with that which you must only feel, that which you only see through my eyes. Then fertility, loss of youth and the urge to keep my ripeness elopes but I have convinced myself to replace the loss of my spirituality. I will seat on my vaginas, my womanly essence and feel them hard against my balls.”

Abe’s installations are an integration between man and a surreal mystical feel or aura to the work at their best borne of two realms, two sides competing for and completing her creative vision. Her process highlights the strength and fragility of the female mind tinted by gender identity, spirituality and urban cultural self-expression. Each space that Gillian works on has its own contexts and gets its own interpretations; her work
also springs views on human resilience and what can be overcome.

Seat of honour #3, 2017 Ink jet on fineart rag 100 x 100 cm Edition #1/5 © Stacey Gillian Abe Courtesy Afriart Gallery, Kampala.
Seat of honour #4, 2017 Ink jet on fineart rag 100 x 100 cm Edition #1/ 5 © Stacey Gillian Abe Courtesy Afriart Gallery, Kampala.
Eria Sane Nsubuga

b.1979 in Uganda, persuing a PHD in Southampton UK

Eria Solomon Nsubuga also known as ‘SANE’, is a contemporary Ugandan painter, illustrator, sculptor and art lecturer. An active practicing artist since 1999, Eria has had several successful solo and group shows in Kampala, Nairobi, Dar-es-Salaam and beyond. His work is enjoyed on virtually all continents of the world. He is a social artist choosing to study the climate of politics, allocation of resources, morality and spirituality. Some writers and scholars refer to him as a political artist. His profile can also be viewed on: https://vimeo.com/72261323
The current work presented follow the discussion of post-colonial theory on whether the colonised people in the global South are actually able to speak independently outside the colonial archive and whether they are able to take consistent action to place themselves in new conversations on the validity of colonial projects and slavery as imperatives of the need to civilise, develop or create progress in the world. Chakravorty Spivak’s written work ‘Can the Subaltern speak?’ lead to this work by Eria Nsubuga ‘SANE’ under the theme “Is the Subaltern speaking?”
While critical of European racism, Sane is also a firm critic of Africa’s failure to take care of her internal problems like fairly distributing her wealth to its people and sees African politics today as the most toxic problem standing in way of the continent’s social and economic advancement. He sees a contradiction in his society in Uganda of having high endemic corruption and yet many leaders claim to be religious. Morality for instance can hardly be separated in his view from politics or resource allocation.

SANE recently participated in the Art Paris fair 2017,Cape town Art Fair 2017, Joburg Art Fair 2016, Cape Town Art Fair (2015), the Florence Biennale (2011), KLA ART 2012 (Kampala Contemporary Art Festival), the East African Art Auction (2013), Kampala Contemporary Art Biennale (2014), the East African Art Auction (2014), among many others. His art has been used for many publications such as the cover page art for The International Bank for Reconstruction and Development/ The World Bank book “Global Monitoring Report 2007”, and cover page art and inside book of the prestigious Transition magazine Issue #104, of the W.E. Du Bois Institute of African and African American studies, Harvard University, Indiana University Press, U.S.A (2011).In 2013 while at a Residency at 32 Degrees East/ Ugandan Arts Trust, Eria Nsubuga ‘Sane’ also embarked on an animation collaboration with Eric Mukalazi, which series he named Abanene: the Chronicles, with a solo show of paintings at Afriart Gallery, Kampala by the same name. The first installment can be viewed on https://vimeo.com/75559994

Black Penis envy Negroes for sale, 2017
Mixed media on canvas
30 x 24 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
St. Leopold patron of the Congo, 2017
Mixed media on canvas
30 x 24 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Elizabeth holding the colony (Newspaper), 2017
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Who is a slaveWho is an immigrant 1, 2017
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Who is a slaveWho is an immigrant 2, 2017
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Who is a slaveWho is an immigrant 3, 2017
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Who is a slave Who is an immigrant 4, 2017
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Tyrant behind the murder of millions of Africans, 2016
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Africans behind tyrant(s) behind murder of millions of Africans, 2016
Mixed media on board
40 x 30 cm
© Eria Sane Nsubuga
Courtesy Afriart Gallery, Kampala.
Gosette Diakota Lubondo

b. 1993 in Kinshasa (DRC) where she lives and works.

Gosette Lubondo was inspired by her father’s work. Being a photographer himself, she rapidly got interested in photography as a studio and art practice. In 2014, she graduated from the Academy of Fine Arts of Kinshasa. In 2014, she took part to in the collective project and exhibition ‘Lady by Lady’ organised by the Kin Art Studio. In November 2015, she participated in a residency parallel to the Bamako Photography Encounters in Mali. In 2016 she participated in Kampala Art biennale and 2017 Art Paris Art fair. Gosette is developing her own unique photographic style to reach out to a broader audience within the contemporary art world.

Gosette finds inspiration in her daily surroundings, in the spatial and individual remnants around. She works at the intersection between past and present, old and new, interrogating ageing sites’ memory. In this series “Imaginary trip”, she has revived old and non-functioning train wagons, offering representations that question mobility from a structural as much as mental perspective. Rust details on materials, old inscriptions, ruins and silence are central elements in her work. Her pictures are a testimony of the traces left behind, witnessing history and human life’s continuous evolution. Through a thought out and personal staging composition in which she becomes the subject of these representations, she confronts us with the past, yet opening a travelling space with countless possibilities and perspectives.

Imaginary trip #8, 2016
Ink jet on Aluminium sheet
40 x 60 cm
Edition # AP
© Gosette Lubondo
Courtesy Afriart Gallery, Kampala.
Imaginary trip #9, 2016
Ink jet on Aluminium sheet
40 x 60 cm
Edition # 2/5
© Gosette Lubondo
Courtesy Afriart Gallery, Kampala.
Imaginary trip #10, 2016
Ink jet on Aluminium sheet
40 x 60 cm
Edition # 3/5
© Gosette Lubondo
Courtesy Afriart Gallery, Kampala.