Africa Nouveau Festival is an ever-growing community of creators, curators and fans of African. Once a year, we congregate in Nairobi, Kenya to collaborate, showcase and connect with one another. The festivals’ manifesto is Creativity, Collaboration, Connections, Innovation and Neo Pan-Africanism.
Africa Nouveau ascribes to the ‘Afrobubblegum’ philosophy that states that African art can be fun, fierce and frivolous, with no other intended aim but to increase joy.
For this years edition, the festival paired 28 fashion designers with 7 stylists, set designers, photographers and graphic artists from Kenya, Ethiopia and the United Kingdom to create 4 pop-up fashion studios at the festival in partnership with the British Council’s East Africa Arts program. The result was a daylong workshop with players in the fashion ecosystem, as well as a stunning 48 –page look book shot at the festival available here http://africanouveau.com/
In our bid to foster new connections, we are excited to announce that Africa Nouveau is coming to London from 19th July to 22nd July at the Africa Utopia festival live at The South Bank Center. Africa Nouveau will bring its Afrobubblegum philosophy through a live performance by Makadem, a Kenyan – designers fashion runway presentation, a panel discussion exploring (WHAT IS THE TOPIC???) lead by Wanuri Kahiu and a photo-shoot aimed at taking a contemporary look at traditional Kenyan culture, history, symbolism and style.
Boomplay Reaches 10 Million Installations on Google Play Store & 29 Million Total User Base
As a further testament to its leadership and popular acceptance as the foremost music content distribution platform, Boomplay Music, Africa’s fastest growing music streaming and download platform has recorded a milestone 10 million installations off Google Play store.
Boomplay Music’s unique and user-friendly application has made it a top choice for consumers of music and entertainment content. The platform has given millions of Africans unfettered access to millions of songs, videos and entertainment trending news.
It has also provided a rallying point in the digital music ecosystem by driving more customers to mobile music consumption. Boomplay Music’s international best practice in ensuring providers make revenues off their content has made it the toast of local and international artistes and content providers. This is in addition to making sure that intellectual property is protected using the best tech innovations.
It would be recalled that the music content platform was adjudged the ‘Best African App’ at the AppsAfrica Awards, which held in Cape Town, South Africa in November 2017. Boomplay emerged as the number one app in Africa from a category strongly contested by other popular apps including Carter – SA, Asorbia – Ghana, Truecaller Africa and Feastfox – SA.
Speaking at the briefing to announce the 10 Million milestone in Lagos, Ms. Tosin Sorinola, Head of PR, said, “This is another major milestone for Boomplay Music and we are more than grateful for the support and involvement of our content providers, users and the team that made it possible to achieve this and sharing the vision of making Boomplay Music the No. 1 Music App in Africa. This is the first of many more milestones to come and a renewed future for digital music distribution’
On how the platform has maintained its top position, Ms. Martha Huro, Snr. Marketing Manager, East Africa, said, “Boomplay Music has reached a new high by clocking 10 Million installs on Google play store. We are one-step closer to making a healthy, thriving and functional music distribution future that accommodates the content provider and user’s needs. Thank you to everyone who made this possible…O Progresso continua! ’’.
Rising from a modest number of installs when it launched in Google Play store in 2016, the platform rose to 1 million installations in January 2017 and by November of same year, it had risen to 5 million. Its fast-growing streak of installations doubled in June 2018 to 10 million installations making its total user base 29 million. Boomplay Music is now tipped to reach the 40 Million total user base by December 2018 confirming the streaming service as Africa’s fastest rising music service.
The platform parades content from multiple genres such as Afrobeat, Fuji, Hip-Hop, Afropop, Rap, Reggae and Gospel among others. Some of the biggest names on the platforms include Sauti Sol, Nyashinski, Khaligraph Jones, Davido, Wizkid, Mercy Masika, Tiwa Savage, Wyre, Fena Gitu, Bahati, Nameless, Chameleone, E-sir, King Kaka, Harmonize, Willy Paul, Vanessa Mdee, Chris Brown, Cassper Nyovest, Cardi B amongst others.
The app comes pre-installed on Infinix, iTel & TECNO devices and is available in Google Play store for all android users. iOS version will be made available later in the year 2018.
That moment Bonte had sneaked into a cargo truck that transported farm animals, mainly goats and sheep en route to Morocco, with the help of a kind Algerian man whom he had diligently voluntarily worked for in his big plantation for four and a half years, he had successfully convinced his heart that he had left his past behind him. He was a new person and he couldn’t allow his past self to drag all the pain and sadness into this new journey he had embarked on. He had move on, forgiven and forgotten his past.
Forgiven; forgotten, Yes Forgotten! In the truest sense of the word. He wouldn’t confess the atrocities he had committed in his forgotten past to a new true friend or a safely kept diary or try to commercialize his story on a famous podcast channel or a highly committed writer on the topic who would be availed to him with astounding immediacy and who would promise to get his story out and hopefully get the right ears to hear it and consequently effectively act upon it and save hundreds of thousands of innocent lives which have gone and still continue to go through what he had gone through. And who would have promised, not by words, at least not directly, but through the carefully chosen vocabulary and grammar about the eventual stardom that would arise from sharing with the world a real, rare and very touching story and the byproduct of a good fortune that would come accompanied as a result of this courageous act. No he wouldn’t try to do any of that. Because that wasn’t anywhere in the lowest degree of Bonte’s mental activity. Few people had found the kind of peace Bonte found in solitary refuge. He had learned as a child and perfected the art of keeping the heart and its activities inside his chest. More strictly speaking, he did not develop this ability by himself but this ability imperceptibly developed itself within him. And Bonte was a truthful man in his relations with himself and always lived in close accordance to his strict manner of life. He remembered all this so vividly, as he sat on a stool in a local pub in Kinshasa across his younger brother to whom he had been the most hated person in the whole world three hours and forty seven minutes ago.
He remembered also, firstly, the memories of war that had suddenly resurrected in full swing like a vicious tsunami on a usually calm and peaceful coastal town wrecking havoc on the quiet living inhabitants; uprooting trees, bringing down buildings, tearing apart roads and washing away valuables and many years of hard work in an unjustly shortest period of time. These memories of a dark period of time for him particularly arose in full force during his habitual two rakat prayers after Isha, the final prayer of the day. He could see the flashing sparks seen at night from the firing of an Ak47 rifle or a Machine gun. He could smell the sweet scent of red volcanic soil when it came into contact with the initial drops of rain that was immediately interrupted with that of soldiers’ boots marching through bush thickets chanting traditional anthems about courage, cowardice, fear and bravery, masculinity and femininity in alternating sentences. He could see as the skin of his victims dissected into two halves and hear the bones crush as he devoured their torso or slit their throats with surgical precision. Bonte, who was born Ibrahim Chembe to his two loving parents in a small town in the eastern part of the Congo, but later on was given the nickname Bonte by his colleagues in the army due to his ferociousness in the battlefield and his remarkable skill with the knife, had fought alongside his small brother Kamissoko as child soldiers in the Congo war after being abducted at the age of 15 while coming from a nearby swamp which they frequently visited to swing on the tree branches and imitate the croaking of frogs in a futile attempt to get the frogs to join in on the musical. This was their favorite playing area and safe haven between himself, his younger brother who was 6 at the time and Lefe, a mutual female friend. As the eldest and favorite child of his father, he had spent most of his time with him at his local slaughter house and that’s where he had acquired the skill to handle a blade and the ability to read the mindset of a soon to be killed animal. Although ammunition was in abundance and in steady supply, Bonte was fond of his blade and always preferred the sweet spot between the idea of remorse, scientific calculations of distance, motion and positioning and the psychological assessment of your victim necessary for the agreeable conduct of business.
He hated his nickname with all his gut but he could not deny that that name was the closest fit to the persona he wished to be recognized by in the army and he thoroughly enjoyed the way the name took all the attention enabling him to conceal his true identity and sensibility as a mortal. He was not so much annoyed at the name itself as at the disgust he felt being around his colleagues by whom he was given the name. In training they were taught that a soldier is to obey orders and that a soldier is judged by God differently. He and his peers, and subsequently anyone that followed behind, grew up on this type of mindset. Every morning or night before an ambush, their commander would gather them around together and after an intense preparation talk, he would conclude with his signature statement, “Go and do something foolish today.” This combination of many different levels of absurdity and utter disregard of any purposefully God given sense, when carefully planted and cultivated in a fertile empty head, was what, like he always thought, a far much inferior status than that of the first founder of the human family, the monkey. Yes he killed people but his killing was different. He killed for love. Although he hated the idea of war in and of itself, he loved his land. He loved the trees and the birds and the frogs they played with at the swamp. And so for his country he fought; to protect his land and its beauty from invaders. He fought for his little brother for whom he had secured a place in administrative at headquarters away from the horrors that he had to face in the field. He was granted this request out of acknowledgement of his unmatched skill in the field. He loved his brother. Kamissoko was different. He was not like him. Although he had always accused him of lacking the ability to distinguish between dream and reality and needs and wants, and although he had never clearly thought out the fundamental concept of family, the status of being the big brother and the responsibility that comes along with it had somehow strangely since very earlier on been synthesized in a high place inside his heart despite the absence of both parents, who died as soon as they were just old enough to bath in the river, and a functioning society. Kamissoko read books and talked about imaginary characters such as Chinua Achebe and an artist in Nairobi named Ndaka who curved his feelings into wood and ended up crafting deep expressions in the form of sculptures –not imaginary in the sense that they didn’t exist but imaginary to Bonte because he was born and saw around him fruits on trees for him to eat, and a field for him to run on, and while in the army, boots for him to wear and missions to be accomplished –to him this was his truth and he chose to live in the here and now. Despite this contrast in believes, the fact that Kamissoko had a great interest in “dreams” and the great importance he attached to “wants”, he saw, beneath that veil of lack of focus and a plight of childishness -to him, he saw the existence of greatness and he felt honored to have a brother in such a noble person. For this Kamissoko here, out of this immense love he felt for him, he killed. To protect him -specifically to secure his place at headquarters that entirely depended on him and to teach him, in the event of his death, about bravery and more importantly, to show him, in clear and practical terms, how not to live a life.
Of all the reasons and love he felt and fought for, nothing compared to the love he felt for Lefe; her only girl. And in this particular love, beyond inspiring him through the long and harsh army days and keeping him warm during the cold nights in the bush, and for the hope of seeing her beautiful dark face with dark eyebrows once again, was what had led to his being in Kinshasa today, sharing a beer with his brother on this warm Sunday evening after a proper 28 years of zero contact and a successful forcefully self instigated artificial amnesia for a large portion of that time until 6 months ago. Exactly 6 months ago, when the first memory of sensations from home had been received by him as though he had miraculously instantly developed a special sensory organ for the transmission of those feelings, he recalls thinking that that was some kind of bad joke his mind was playing on him. That night in the second raka’a of his Isha prayer in which he experienced the first seismic reading of what was to be, in the months that followed, a resurgence of memories and flashbacks in an earthquake fashion, he quickly immediately dismissed it as a fly floating in air that was warning the elephant about its mighty landing on his back, and he swiftly carried on reciting the last ayat of Suratul Maidah. That night when he went to sleep, his bed felt like a time travel machine that took him back to the heart of Zaire land and then it malfunctioned leaving him to wonder about eternally in every familiar territory. The following morning he woke up early and unusually quickly offered his Al Fajr prayer and left for work. At work, he plunged into the duties of the day and tried to drown the memories and feelings in them but in vain. This cycle went on the next day, the next week, and the next month, and the next. Most of these feelings were torturous in nature, for instance his last memory of his crying brother. On the night they escaped, they had been caught in a carefully thought through ambush of a joint forces between the government army and two local rebel groups earlier on that day which had killed at least a few dozen men and left scores injured. Bonte and Kamissoko had both passed out and, mistakenly thought dead, were immediately buried in a shallow mass grave as was the culture in such instances after the intense cross fire had come to a halt. Upon regaining consciousness and crawling out of the piles of dead bodies, Bonte further crawled over to where his brother lay down, his head facing the sky. As he approached him, amidst all the pain he felt on every inch of his body and the strong concentrated smell of blood mixed with soil that filled the air, he felt, for the first time, the need to free his brother; to free him from himself, to set him free from the ill luck that seemed to have permanent residence in the very essence of his existence. But first he had to save him one more time, one last time. His brother, not sure whether the blood stained on him was that from his bleeding or someone else’s, was laying flat on his back, his eyes staring into the sky almost not blinking, whispering what Bonte immediately recognized as a line from one of his many ‘favorite book’ which he completely had never understood “..The highest friend… the highest friend…oh the highest friend…” From his placidness, Bonte knew that he had been laying there for a while, and perhaps had tried to get up and look for his brother or a way home –whether home meant the army or the swamp they played at as children with Lefe, but his emotions had rendered him immobile. He saw a feeling on his face which he recognized very well; that of a man who was willing to leave this earth and was giving his soul to the angel of death, but just before this session had gone any further and degenerated into something more practical, he quickly interrupted the idea by jacking him off the ground, and without a say of a word, his shoulder supporting him from beneath his armpits, they ran across into the forest. He doesn’t remember for how long they had been running for but Bonte recalls -and if Bonte remembers, Kamissoko sees it every second of his living, when their tired legs couldn’t carry them anymore and they fell to the ground passed out.
Early the next morning, Bonte woke Kamissoko up and after showing him the border and his path to freedom, gave him the worst beating of his life and he passed out again. When he woke up again after a few hours in pain, Bonte had gone. That was the last time he was to see him and that was the last time he wanted to see him. He hated him. But his hate for him didn’t come from a place of resentment though, as he later on in his ‘adult’ form came to realize, rather it stemmed from a place of love. Hadn’t Bonte left him and left him in the cruelest of ways a brother could leave, he wouldn’t have hated him well enough to become the most respected writer in Nairobi and the continent at large whose work was described as “songs of the heart”, and so for his leaving he would always be grateful. But he still hated him because he wasn’t there to see how he had made someone out of himself and to see the long dreadlocks he passionately wore on his head which were a kind of a crown, a symbol of his triumph over his fears and dependence on his brother. Of all reasons he didn’t want to meet his brother, and despite his successful career as a writer and his remarkable growth as a person, he was not sure if, upon meeting him, he would gather the sufficient breathe of mind to explain how he was now married to Lefe, yes Lefe, Bonte’s only girl. In fact, all those memories of home that had reemerged on Bonte’s mind hadn’t had the effect and weight as that singular memory of Lefe; and for those specific memories and feelings, and for Lefe, Bonte had returned home. As kids, at the swamp, although he had never clearly thought out the idea, Bonte had long suspected of a more than friendly love between Kamissoko and Lefe, and even though all childhood family games had always put him and Lefe as the father and mother, he always felt that this was only out of the habit of regarding him as the eldest in the group and therefore he was the most suitable person for the post. Lefe, on the other hand, who was a beautiful girl in many ways, always felt immense respect for him. And perhaps that was about the closest to a romantic place she could get. Even though she was the one with whom she had planned this meeting with and for, and although she was the one whose memory and feelings had led him to abruptly cut short his peaceful suddenly turned turbulent 28 years stay in Morocco; when she had set a venue for them to meet at Kinshasa, after Bonte had reached out to her through a contact, although the contact and Lefe had neither mentioned about her relationship with Kamissoko nor even gestured anything about the presence of his brother, Bonte had somehow, with that special sensory organ, felt the essence of everything. So as they sat here at this bar in Kinshasa, they all from time to time glanced at each other, that type of glance that sort of asked “…so are we okay?” and they all, in response, smiled; with teeth but more deeply with their eyes and they all clearly knew what that meant.
We’re incredibly thankful to all our team members who helped us pull of this project, we appreciate each and every effort you put towards making this a success.
The Future Generation Art Prize is a biannual global contemporary art prize to discover, recognize and give long-term support to a future generation of artists. Established by the Victor Pinchuk Foundation in 2009, the Prize supported the artistic development and production of new works of over 84 artists in exhibitions at the PinchukArtCentre in Kyiv and as official collateral events at the Venice Biennale in 2011, 2013, and 2017.
All artists aged 35 or younger from anywhere in the world, working in any medium are invited to apply for the Prize. An outstanding selection committee, appointed by a distinguished international jury, reviews every application and nominates 20 artists for the short list. These artists will be commissioned to create new works that go on display at the PinchukArtCentre in Kyiv. Subsequently, all of them will present their works in the Future Generation Art Prize exhibition at the Venice Biennale.
The main prize winner receives US$ 100,000 split between a $60,000 cash prize and a $40,000 investment in their practice and Up to 5 special prizes are awarded at the discretion of the jury. A total amount of US$ 20,000 will be awarded to special prize winners for supporting projects that develop their artistic practice.
Let’s talk movies! How many African movies have you watched at the cinema? Does your count make it past one hand?
Unless you have been living under a rock for the past decade or so, it is quite evident that visual art is the future and as a matter of fact, the future is here. With the attention span of the average human being having reduced significantly over the past few years, visual representation of information through media such as film is at its most beneficial point. With the world taking on film as one of the biggest and most effective way of passing a message across or even spearheading change in society, Africa has not been left behind. In fact, Africa’s film industry is growing sporadically and if we maintain the status quo, we will quickly and most definitely conquer the said industry.
In Africa, Kenya is at the forefront of the film-making culture having recently been nominated for an Academy Award for Best Live Action Short Film at the 90th Oscar Awards early 2018, for the short film Watu Wote. The 2017 film, directed by Kenyan-German Katja Benrath is based on a true story that depicts the Al- Shabaab militia bus attack on Muslim and Christian passengers in Mandera in December 2015. The film goes a long way in addressing the consequential unrest that arises in Kenya from the militia group attacks in the country.
This, however, was not Kenya’s first award-winning production to be released on an international platform. In 2016, Kenyan director Mbithi Masya released a drama film, KatiKati, that gained significant acclaim having won the Prize of the International Federation of Film Critics at the 2016 Toronto International Film Festival. KatiKati follows the life, or in this case the after-life of Kaleche, a lady who finds herself in purgatory assimilated to her by a ghost. Definitely a must-watch!
A little while ago, Nairobi Half-life, one of Kenya’s most recognized films was released and it quickly set the country’s film industry on an international level. The film showcases the life of a young, aspiring actor from an upcountry region with big dreams in his pursuit of success in the big city, Nairobi. Directed by David ‘Tosh’ Gitonga, the film spearheaded the film culture of the country by being one of the most relatable productions to date.
Most recently, the talk of the town has been the film Supa Modo which is a story about a terminally ill girl whose desire to become a superhero amidst her condition inspires the society around her to rally together and make her dreams come true. The film was directed by Likarion Wainaina who has previously produced the popular show Auntie Boss, award-winning Bait and Kidnapped. The film was recently recognized at the Berlin International Film Festival held in February, 2018.
It is clear that we are making great strides in the film-making industry. However, it has not been an easy road. Facing stereotypes such as films requiring a colonial point of view in order to be considered award-worthy has been a challenge especially in the west. Moreover, African films are only considered as crafts and only ever make it to a small-scale level in comparison to productions from Hollywood for example.
Despite all this, the future is bright and with a little more effort and support from the film lovers and audiences, no one can say how much success we gain as Africa.
The Uganda Press Photo Award (UPPA) invites all Ugandan photojournalists and photographers to participate in the seventh annual photo contest and to submit their best work and stand a chance to win a CANON EOS 5D Mark III DSLR camera kit and the opportunity to showcase their work in our annual exhibition which features the best visual storytellers Uganda has to offer. Participants can submit their images (published or unpublished) to six varied categories: News, Daily Life, Environment, People, Sports & Urban.
In addition this year sees the introduction of the East African Photography Award (EAPA), which invites citizens of Burundi, Ethiopia, Kenya, Rwanda, Tanzania and Uganda to share their photo essays documenting the rapidly changing world around us. From cultural, socio-political, environmental or technological issues affecting individuals or societies and the way we live to more personal, long term stories, we hope to see visual storytelling that is challenging perspectives and opinions. The stories submitted should show a clear narrative that is improved, not diluted, by the inclusion of multiple images. The winner of the EAPA will be taking home a Canon EOS 80D camera kit, and will be invited for the award-giving ceremony and professionals’ week taking place in Kampala in October 2018.
The UPPA and EAPA will be judged by an international jury composed of photography professionals including: Yasuyoshi Chiba (KE/JP), Georgina Goodwin (KE), Martin Kharumwa (UG), Frédéric Noy (UG/FR) and Annette Sebba (UG).
Deadline for submission to both the Uganda Press Photo Award and the East African Photography Award is 1st August 2018.
Emerging photographers between the ages of 18 and 25 with an interest in documentary photography are invited to participate in the Young Photographer Award (YPA). Awaiting the winner is a Canon EOS 1300D camera kit as well as the opportunity to participate in a seven month Mentorship Programme and to exhibit their work during the UPPA 2019. The judging panel of YPA judges will include: Jide Adeniji-Jones (NG/USA), Laura Beltran Villamizar (CO/NL), Benjamin Füglister (CH/DE), Katie Simmonds (UK/AE) and Sarah Waiswa (UG/KE)
Deadline for submission to the Young Photographer Award is 15st July, 2018.
Submissions to all the three competitions should be done online.
The British Council and East Africa Arts are seeking proposals for a programme entitled “new Art new Audiences (nAnA)” to create connections between 18 to 35-year-old East African and British creatives. Call for proposals close on the 15th July 2018
nAnA will fund 5 new projects in 2018
Up to £30,000 will be allocated to each project
Artists, arts organisations and/or art collectives from the specified countries (mentioned below) must connect to co-create, co-facilitate or co-produce new art together.
nAnA 2018 is particularly interested in supporting projects by artists, arts organisations and/or art collectives that already have, and want to build upon, cross country collaborations and connections.
New partnerships are also encouraged
There are no restrictions on art forms and there are no restrictions on themes.
Applicants can apply as an individual artist(s), an arts organisation(s) or an art collective(s).
Each project must focus on the creation of a new piece, or a new body of art.
At least three different countries must be involved in the project, with at least two of these countries being from the East African region.
nAnA focuses on supporting art sectors within cities from the countries specified – artists, artworks and audiences must be connected to cities.
Each project must focus on reaching an 18 to 35-year-old face to face, and online audience. nAnA aims to increase the visibility and awareness of new contemporary art from East Africa and the UK. The engagement of an online and/or face to face audience is therefore essential.
All key contributors involved in the project must be between 18 and 35-years-old.
The projects can be match funded by other financial partners.
Applicants can apply more than once to new Art new Audiences.
Those who received nAnA 2016/17 grants (either primary or secondary partner) are also eligible to apply to nAnA 2018. However a primary nAnA 2016/17 partner cannot apply as the lead partner for nAnA 2018.
All projects must be completed within 12 months of receiving funds from the British Council.
A mid-project report and an end of project report will be expected in order to receive payment, a template will be provided for these reports.
The project must be administrated by one person or organisation. They must have a bank account and a national ID in order to receive funds. They must also be responsible for the mid-project, end of project report, and for the externals communications of the project.
70% of funds will be granted upon signing a contract with the British Council, the remaining 30% of funds will be granted upon submitting your mid-project report.
How to Apply
Applicants can apply online via given website.
Eligible Countries: England, Ethiopia, Kenya, Northern Ireland, Rwanda, Scotland, South Sudan, Sudan, Tanzania, Uganda and Wales.
The African Women in Tech (AWIT) Conference will be the one of its kind to provide attendees a unique combination of deep-dive, hands-on tech workshops, information and discussions about education, entrepreneurship, careers in tech, and how to pursue them; networking opportunities with other women in various aspects and careers in technology.
The African Women in Tech conference has been made possible through a partnership between IBOM LLC (Innov8tiv), and TechMoran.
1.The knowledge to be gained from listening to personal experiences, best practices and solutions is priceless, especially learning from some of the best minds in Africa Tech.
2. Speak with representatives of various tech organizations from all over the world that have the resources you need to get moving and growing in this vibrant and fast-moving generation.
3. The perfect blend of top executives, startup founders, innovators and disruptors provides the opportunity to learn from leading companies.
4. Being gathered in one place with women who think exactly like you and want to provide life-changing solutions has got to be the dream. Gather and provide insights, ideas and tips from and to experts and ‘novices’ alike!
5. An opportunity to be a better version of who you were yesterday is one you must take to move forward in your career. The African Women in Tech Event presents that opportunity, seize it today.
6.Take the bull by the horns by seizing the courage to propel yourself in the direction of your biggest goals and ambitions. Come and be joined by women who have been in similar situations as yours and be empowered to break free.
Opening: June 30, 2018 Venue: One Off Contemporary Art Gallery Time: Noon to 5 pm
Until: July 24, 2018
About One Off is proud to host ‘Contemplations’, an exhibition of paintings by Ehoodi Kichapi.
Ehoodi Kichapi (b. Jesse Ng’ang’a) is a self taught artist, who has been painting for the last fifteen years. His artistic life started in 2002, through doing caricatures as an instructor for the Kuruka Maisha art group. He had his first solo show in 2007 at the Alliance Francaise, in Nairobi, Kenya.
“His work is expressive and graphic: energetic line drawings, circles, marks, scribblings, figures, rudimentary images of animals, portraits, screaming faces and reaching hands create harsh and brutal images. Wild colourful acrylic paint is applied in thick sweeping strokes, creating abstract sections in his work that are just about colour and movement.” (From 2009 East African Art Biennale, Dar-es-Salaam, Tanzania).
Since being represented by One Off Gallery, Kichapi has successfully exhibited in Cape Town with Nini Gallery and in Madrid with Gazzambo Gallery. Whilst he credits Francis Bacon, Mark Rothko and Jean-Michel Basquiat as his inspiration, he is fast achieving his own individual practice and a strong, often witty, original voice.
The exhibition offers an exceptional opportunity to buy a Kichapi paper work at less than half the usual price. A great number of paintings on paper will be available, over the exhibition run only, for Kshs 50 000 each.
Please come and take this wonderful opportunity to add to your collection.