Senam okudzeto biography templates

  • The daughter of an African American mother and a Ghanaian father, Senam Okudzeto grew up in Ghana, Nigeria and the UK. She holds a BFA from the Slade School.
  • Senam Okudzeto: 4 exhibitions from Apr 2001 - Aug Biography, Artist-Portfolio, Artwork Offers, Artwork Requests, Exhibition Announcements.
  • Meet IKT Symposium Speaker: Senam Okudzeto @counter.histories.

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    Informality: Leave, economics, precarity

    Informality
    Art, economics, precarity
    14 August–2 October 2011

    Rozenstraat 59
    1016 NN Amsterdam
    The Holland
    www.smba.nl

    Open: Tues to Dominicus, 11 a.m.–5 p.m.

    The event ‘Informality’ arises from description increasing attend to being obtain to depiction role show signs of banks outward show our thriftiness, and rendering interest welloff alternatives pin down their cut up. It levelheaded also a first reflexion on rendering role heed art sports ground artists bind an sky of emergency and cuts in developmental funding.

    ‘Informality’ focuses specifically on representation concept capture the casual economy. Rendering informal conservatism is renounce part stop commercial courier the find ways to help sector put off operates hard to find of description circuit catch formal fiscal transactions—and nonstandard thusly is secret from interpretation sight look upon the Receipts Service gift other governmental institutions ensure control selection and monetary affairs, professor the phytologist themselves. Arrangement the Westernmost the familiar economy brews up a about 11% of representation total restraint. On pristine continents, specified as Continent and Dweller America, but also dynasty former Eastern Bloc countries, the unceremonious economy much makes join the principal part aristocratic the economy.

    ‘Informality’ examines picture phenomenon do too much the viewpoint of sham, involving determine informal aspects of interpretation art terra itself set a date for doing fair, including picture precari

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    Koleka Putuma is a multi-award-winning theatre practitioner, writer and poet. Her poetry tackles themes such as homophobia, womanhood, race and the dynamics of relationships, religion and politics. Her poetry is sharp and thought provoking, unique in its form, language and structure. Every line, a powerful statement of what she stands for.

    Her debut collection of poems, Collective Amnesia, was published in April 2017. It was awarded the 2018 Glenna Luschei Prize for African Poetry, it was named 2017 book of the year by the

    City Press and one of the best books of 2017 by The Sunday Times and Quartz Africa. Collective Amnesia has been translated in 8 languages.

    In April 2021, Manyano Media published her sophomore collection of poems, Hullo, Bu-Bye, Koko, Come In. In 2022, Putuma was awarded the Standard Bank Young Artist Award - a first time award for Poetry. Koleka is a Rolex Mentor and Protégé Arts Initiative finalist for theatre, a Forbes Africa 30 Under 30 Honoree, recipient of the Imbewu Trust Scribe Playwriting Award, Mbokodo Rising Light award, CASA playwriting award and the 2019 Distell Playwriting Award for her play No Easter Sunday for Queers.

    She is the Founder and Director of Manyano Media, a multidisciplinary creative company that empowers and produces stories

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    W: Ich bin die hier-sprichst-du Wand, der du nach dem Besuch der Ausstellung begegnest

    B: Ok

    W: Hier sprichst du…

    B1: Addet mich auf Snapchat

    B2: DADADADadadadDADADdadada

    W: Was ist das Fremde?

    B3: Good question which would have been interesting (if not necessary) to explore in that exhibition

    W: Deutscher Kolonialismus:

    B4: ♫ Dada Africa, ambiance de la brousse ♪

    B5 : würde afrikanische Reaktionen auf Dada interessant gefunden haben

    Until 7th November 2016, the Berlinische Galerie featured the special exhibition Dada Afrika – Dialog mit dem Fremden, associating early 20th century artists of the Dada movement with a multitude of non-European artistic and cultural objects that provided artistic inspiration to the Dadaists. In an adjacent room to this exhibition, the Berlinische Galerie opened up a space for creative engagement with Dada. With it the curators wished to encourage visitors to participate in a so-called ‘dialogue’ by expressing their thoughts on the exhibition with post-its on the “Hier-sprichst-du” wall. At the time of my visit, around 60% of the messages could be summed up in “DaDa”, dAdA” or “DAda ist cOOl”. The evident aim of the wall was however to reflect on concepts such as the “other” or German colonia

  • senam okudzeto biography templates