‘blaxTARLINES is a concept; a paradigm; an “open source” coalition; and critical intellectual community operating on a fractal model of collectivism,’ curator Kwasi Ohene-Ayeh, a member of the cross-generational network of artists, curators and teachers, said this year. He was speaking in the context of a group exhibition held at Apalazzogallery, Brescia, in March, a leap in contexts from blaxTARLINES’s base in the art department of Kwame Nkrumah University of Science and Technology, Kumasi. But such shifts seem part of the group’s modus operandi, a lateral organisation aimed at fostering mutual support in Ghana and internationally, its projects often taking the shape of group shows and solo exhibitions. The collective was roped in by Bonaventure Soh Bejeng Ndikung to collaborate on the public events programme for his Bienal de São Paulo. Meanwhile blaxTARLINES member Robin Riskin was a cocurator for the first Lagos Photo Biennial this October. Artist Godelive Kasangati Kabena was part of this year’s Stellenbosch Triennale, and affiliate Ibrahim Mahama has taken its dispersed approach to a wider audience.