BEATRICE POLATO ABSTRAC With a group of artists, all currently living and working in Kenya, we have created a collective called Un-collective to speak about art with a participatory methodology. The name Uncollective, suggests some features that represent the spirit of the group: the individual as part of a group not as a “founding act� but as a uid choice, with reference to a speci c project, to a moment of a personal artistic research; the categories (visual artists, storytellers, researchers and artists in the broad sense) experienced primarily as example of an approach to life. In this perspective, the cultural experience goes far beyond the boundaries of art exhibitions, which are booming in Nairobi in the last ten years. The participatory approach, conversely, allows a wider, existential and educational growth, a nal work to be offered to the public as a product of a long-term and shared path. allow a wider, existential and educational growth, a nal work to be offered to the public as a product of a long-term and shared path. Participation as a methodology contributes to build long-term dynamics, more in depth analyses in which the art object is transformed into a chance for discussion, debate and connection; where the process is important, the discovery of the other becomes the main purpose. But it is also an intellectual challenge in a relatively young art system, where the economical value seems to be a very important dimension to de ne art's meaning. With the collective Un-Collective we have been speaking about different macro themes: identity, time, displacement which have been used, in the last period, to explore and analyse the concept of wall: not only as a physical concept as the one built around countries, but also as perceived entity, the starting point for an investigation that interrogates the artist's practice in the contemporary globalized era. This question is also part of the research for my Phd with the University of Barcelona. However, the beauty of art must infect, interfere in the cracks (even the narrowest and darkest) and become collective heritage by creating community, sense of belonging, dialogue and sharing of memories.
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A DIALOGUE OF SYMBOLS AND IMAGES IN NAIROBI
