Adjo Kisser In her constellation of art projects Adjo Kisser seeks to make sense of drawing by expanding its possibilities with spoken narratives. The focus in this particular project is on sound and the creation of computer malware. The sound component is made up of audible but not readily intelligible narratives put together from bits and pieces of text, emanating from either subconscious sources or appropriated from posters, private messages and conversations between people. The text has been translated into Asante Twi and Hausa and spoken as overlays in a stand-alone audio recording performed by a selected group of people in Kumasi. The Red Flag series borrows from the character and ability of viruses or malware to spread by penetrating barriers, circles and closed groups in the digital domain. A malware which functions as a means of disseminating work in the form of gif images has been developed and it affects digital devices in its proximity. Elvis Nsiah Elvis Nsiah has brought together discarded objects gathered from states of precariousness and has fashioned them into three-dimensional structures, animated mechanically or electronically. Disused home utensils, corrugated metal sheets and plastic parts of machines are reconfigured into makeshift beings that gyrate, vibrate and emit bizarre sounds of forced use. With his sculptural objects, Nsiah continues to allude to the living and working conditions of the undocumented multitudes that inhabit the city without permits. Samiratu Abdulai Moro Inspired by the lives of aquatic animals, Samiratu Abdulai Moro has created I won’t selfish II, an installation made up of fish, shrimps, crabs and other sea and river dwelling organisms suspended in synthetic resin. This is the second in a series in which Moro restages the modus vivendi of aquatic animals, introducing them into non-familiar environs. The marine organisms are congealed in some sort of finitude simulating amber fossils. There is a semblance of jewels or precious stones when one encounters the work. Nicholas Ofori Nicholas Ofori reimagines portraiture in the Classical African sculpture canon. In this exhibition Ofori references Akan funerary heads. He models in clay and achieves a distinct object with each reproduction made from P.O.P mould by throwing the clay to the ground to deform the cast. The faux archeological objects are entombed with food left overs, salt and sugar to accelerate the decay process. Found objects such as square mesh nets and tree branches are also used in his installations. Akwasi Afrane Bediako In this exhibition, Bediako’s makeshift arcade machine— built from parts of a desktop computer — retunes old games into his own versions. He explores the world of videogames by revisiting early gaming hardware. With his improvised arcade machine, he retunes and modifies old Nintendo games and includes a repertoire of original classic games tuned by amateurs to offer different experiences which could either be nostalgic for old gamers or new for the current generation. Daniel Osei Poku Daniel Osei Poku’s grotesque installations of severed cattle horns, dried, exhumed, strung together, and decaying are growing horn moths that feed on its keratin. The cattle are transported from various parts of the Northern region of Ghana and subjected to brutal fates of butchery for a ready consumer market. The immanence of decaying and emerging life forms of the horns produce pungent smells. Elolo Bosoka The container becomes matter in Elolo Bosoka’s plastic and metal installations. Using charcoal sacks and rusted Tomato tins — tools used as measurements by market sellers —, he manipulates the materials by stripping, stretching, crumpling, cutting, burning, and hammering. Violently transformed into compositions, patchworks, and ghostly bodies, the packaging materials become objects of inquiry and instruction. Governed by synthetic grids that weave the sacks, and the vertical stripes that orient their direction, these new forms lead us into a deeper and darker void: holes made by fire, heads of empty shadows, charcoal-seeped crevices, and spaces between seams. His current projects deal with the idea of production, packaging, labor and the idea of creating communities in Ghanaian contemporary societies.
Issuu converts static files into: digital portfolios, online yearbooks, online catalogs, digital photo albums and more. Sign up and create your flipbook.