The network of transgenerational artists, academics and curators, which has a base at the Kwame Nkrumah University of Science and Technology, Kumasi, but stretches far beyond, grew out of teacher Karî’kachä Seid’ou’s project to ‘transform art from commodity to gift’. An “institution… privileging no centre”, is how member Kwasi Ohene-Ayeh described blaxTARLINES during an Art Basel talk this year. While staging its own shows – like BROACHING ALCHEMY: a contingency of emergent visions in Kumasi this year – its more established members bring attention to those less visible internationally. Members curated Ibrahim Mahama’s exhibition at Kunsthalle Osnabrück in June, and when Mahama was appointed artistic director of the 35th Ljubljana Biennale of Graphic Arts, he brought in blaxTARLINES operatives Exit Frame Collective, Patrick Nii Okanta Ankrah and Selom Koffi Kudjie as cocurators. Collaborating with artist organisations Africa and internationally, they staged a group exhibition in Masaka, Uganda, in November, and have ongoing exchange programmes with Städelschule, Frankfurt; State Academy of Fine Arts Karlsruhe; and Art Hub Copenhagen.
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