Circle Art Gallery in Nairobi recently unveiled its latest exhibition, “Invocations,” a dynamic showcase of African contemporary art that delves into the intricate interplay of spiritual forces, political issues, and the materials that shape our daily lives. Featuring a diverse lineup of established and mid-career artists from East Africa, including Souad Abdelrassoul, Jonathan Gathaara Sölanke Fraser, Tahir Karmali, Syowia Kyambi, Theresa Musoke, Shabu Mwangi, Dickens Otieno, Gor Soudan, Sujay Shah, Tiemar Tegene, Agnes Waruguru, Donald Wasswa, and Tabitha Wa Thuku, the exhibition offers a compelling exploration of themes ranging from environmental sustainability to cultural heritage and beyond.
The exhibition, curated by the Circle Art Gallery team, represents a culmination of careful curation and a celebration of African artistic talent. As visitors immerse themselves in the thought-provoking artworks, they are invited to contemplate the complex narratives and perspectives embedded within each piece. From paintings and prints to sculptures and ceramics, “Invocations” presents a multifaceted glimpse into the rich tapestry of African contemporary art.
In a recent interview with Danda Jaroljmek, the Director of Circle Art Gallery, we gained valuable insights into the inspiration behind “Invocations,” the curatorial process, and the broader impact of the exhibition on both the local and international art communities.
Interview:
Africans Column: Danda, can you share with us the inspiration behind curating the “Invocations” exhibition and how the concept evolved during the planning process?
Danda: Invocations was conceived specifically as a ‘beginning of the year’ introduction to the artists we work closely with. Many had not shown in the new gallery yet and we wanted to see their work displayed at its best and in good company. When Circle started we focused on curated group shows as few places were doing this, we find 10 years on, we are doing more solo exhibitions as there is a greater need for this. Invocations was a chance to bring together our favourite artists and present mainly new work. As the list of artists and available works grew, we allowed ourselves some freedom to add artists to the list to respond to their requests.
Africans Column: The exhibition features a diverse range of artists and mediums. Can you share insights into your curatorial process for assembling the diverse range of artworks and artists featured in the exhibition?
Danda: In this show, the artists came first, the works and the concept came second. We only moved to this new much larger space less than a year ago and we were impatient to present these artists in the gallery for our audience to appreciate.
Africans Column: “Invocations” explores the interplay of spiritual forces, political issues, and daily materials. How do you see these themes reflected in the artworks showcased?
Danda: As we began to select work and choose how to hang them, surprises often happen it is the magical time before an exhibition comes together. We began to see relationships between the different artists’ work and themes became evident, the natural world shone out in so many artists’ work which is to be expected as we can no longer avoid the affects of climate change and how the human race are destroying our planet. Other themes but this was the most powerful.
Africans Column: Many of the artists featured in “Invocations” draw inspiration from their African roots. How important is it for you to showcase African perspectives and narratives in contemporary art?
Danda: Circle only shows East African artists, our job is to present their work and the perspectives and narratives in their work. We chose East African artists because we are a Kenyan gallery but also because the region is less visible and well known internationally, where South African and West Africa, largely Ghana and Nigeria have had more visibility in the past.
Africans Column: The exhibition presents a mix of established and mid-career artists. How do you see the exhibition contributing to the evolution of these artists’ practices?
Danda: I was particularly interested in seeing the interplay between the generations in this exhibition, we have previously focused on group shows for emerging artists or specific shows for the older generation born 1960s and earlier, this is the first inter-generational exhibition and I think the artists have enjoyed this perspective and have found connections between unlikely works.
Africans Column: What challenges, if any, did you encounter in curating “Invocations,” and how did you overcome them?
Danda: No challenges, we are very experienced at presenting exhibitions, have a great team, equipment and skill!
Africans Column: Lastly, how do you envision the impact of “Invocations” beyond the gallery space, both in the local community and on a broader scale?
Danda: I think with all Circle’s exhibition we have a very wide and varied audience. In the gallery we attract a lot of young Kenyans who are interested in learning more about visual art as well as lots of artists. The impact for them is being able to stand in front of excellent art without having to rush, with someone to guide them. We also have a broad collector base in Nairobi that represents the local and international business community here. We also have a very large international presence through our online platforms so the exhibition is seen by a vaste audience all over the world, the impact of which can only be imagined unless people get in touch with us.
As “Invocations” continues to captivate audiences, its influence extends far beyond the walls of Circle Art Gallery, sparking conversations and reflections on the diverse narratives and perspectives of African contemporary art. Through exhibitions like this, Circle Art Gallery remains at the forefront of promoting African artistic talent and fostering a deeper appreciation for the complexities of the African experience.
