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FOREWORD: A NEW AWARENESS OF WOMEN’S ACHIEVEMENTS BY HRH PRINCE CONSTANTIJN HONORARY CHAIRMAN OF THE PRINCE CLAUS FUND Something interesting is happening: people are digging into the past and they are finding out that – albeit in small numbers – women have always done jobs that were thought to be the exclusive domain of men. Throughout history, there have been women leading communities, fighting wars, running businesses, contributing to science – just without the same recognition given to men. Now we find more people are discovering the same in the arts. The Prince Claus Awards Committee did not set out in search of an all-woman list of Laureates. But they were struck by all the nomina­ tions of very highly qualified women artists that they received. The final list was a natural outcome of a new awareness of women’s achievements across the whole range of cultural endeavour. This year’s Principal Laureate, Kamala Ibrahim Ishag, exemplifies the trend. She has been at the forefront of modernist art movements in Sudan and East Africa since before she graduated from art school in 1963. She has taught and mentored generations of artists. Together with some of her students, she pioneered a whole new movement, the Crystalist movement, and she is still practicing her art and actively mentoring young people, particularly young women artists. She is known and revered in Sudan. Now she is finally receiving the international recognition her achievements deserve. No doubt it says more about major international institutions than about the artist and her art, but, finally, big Western museums and collectors are taking notice. The other 2019 Prince Claus Laureates represent younger generations of creative women. They work in various fields in very different contexts. All of them, in one way or another, are operating under difficult circumstances. In this book, you will read in detail about Mariam Kamara in Niger, Bill Kouélany in Congo-Brazzaville, Ambulante in Mexico, Anoucha Suwichakornpong in Thailand, Djamila Ribeiro in Brazil and Mónica Ojeda Franco from Ecuador. They are all women who are unafraid to breach boundaries, who are not only role models for other women, they are agents of change and models for everyone in their societies. And that’s the way it should be. It has always been possible for a singular woman, through extra­ordinary effort and sometimes with the help of a well-placed mentor, to break through barriers. Now the numbers are increasing. The obstacles of stereotypes and prejudice against women appear to be slowly eroding. Still, it will take time before women’s achievements are universally valued and even taken for granted. This year’s Laureates bring hope that we will finally see equality of opportunity across the whole array of cultural fields. With it will come a wealth of women’s extraordinary perspectives, talents, humour and wisdom.



3 6




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49 63 79 93 107


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138 140 144 144 148 152



It has become a rather boring truism that the speed of change keeps accele­rating. Speed is exciting, but it can make life a bit difficult for any organisation that wants to stay relevant and move with the times. And if your field is arts and culture around the world, the task becomes more complicated, as move­ment is at different speeds in a lot of different directions in different places. So what does that mean for the Prince Claus Fund? As the new Chair of the Board, that was the first question Ila asked, and as Director of the Fund the most important thing Joumana wan­ ted to discuss. Ila found that the Fund’s staff regularly poses that question in self-reflection. It turns out his ideas and their answers are pretty much the same: to live up to its mandate and vision, a foundation that supports art and culture under pressure worldwide has to stay alert, to monitor trends and understand diffe­ rent contexts. It has to stay supple and flexible. It has to listen a lot and be able to anticipate. In a certain way, the speed of global communi­ cation and change makes it easier now, because local and regional trends can quickly go global. The proposal for cultural projects we receive and the art that’s produced by the people we support offer a kind of seismograph of people’s concerns. The vast community of partners, friends and advisors that the Prince Claus Fund has built up over the years helps put those concerns in con­text and guides the Fund’s attention and efforts. It might be easy to fall into the habit of consulting the same, small circle of people and creating a tight little group of elites. But the Fund guards against that temptation by con­ 6

sciously remaining open, engaging young cultural practitioners and supporting new, emerging art­ ists. Creating a dialogue between new and estab­ lished artists is therefore important. A fundamen­ tal value for the Fund is inclusion and it is impor­tant that minority and marginalised voices are heard. Ila’s early impression, confirmed by Joumana, is that there are conflicting pressures on the Prince Claus Fund: on the one hand, to do more - the need, it appears, is endless - on the other hand, the Fund is advised not to overextend itself, not to stretch itself too thin. It’s true, it is important to acknowledge one’s limits, to be focussed and remain an inter­nally tight team that can react quickly to urgent needs. But pressure on culture seems to be growing in many places and the demand for sup­port is great. Luckily the Fund has become adept at expanding its reach and impact through colla­borations with like-minded institutions. Working with others, we can accomplish more. That is a happy trend that is bound to continue in the future. In academic and international monetary circles there is a growing awareness of the importance of what has been called the ‘creative economy’; a recognition of the positive impact that crea­ tivity has on development. It was something that HRH Prince Claus himself always believed in, but the concept was only promoted in economic cir­ cles a couple decades ago by the author and academic John Howkins. Before then creative ideas, cultural context and artistic production were largely ignored in economic discussions. As the idea slowly catches on, there is more interest in supporting culture. It’s a trend that raises hopes for greater sources of funding. Looking ahead, it’s clear the Prince Claus Fund can’t hold its breath or rest on laurels. The momentum may be fast, but we’re in it for the long run! 7


2019 PRINCIPAL PRINCE CLAUS LAUREATE KAMALA IBRAHIM ISHAG – SUDAN a visual artist, intellectual catalyst and pioneering figure in Sudan’s modern art movement. Co-founder of the innovative Crystalist Group, her artwork has focused on the intangible aspects of women’s experi­ ences in her society, nature and spiritual communication. Ishag is a teacher, mentor of young women and an inspirational force among younger generations of Sudanese artists.


2019 PRINCE CLAUS LAUREATES AMBULANTE – MEXICO an organisation that provokes and supports social change through docu­ mentary cinema. Ambulante’s travelling festival takes significant docu­ mentary films to places where they are rarely available and creates public debate through related forums and activities. Its workshops provide equipment and training in rural and indigenous communities, encourage new visions and voices, and foster independent filmmaking. MARIAM KAMARA – NIGER an architect who uses architecture as a means to serve communities and improve lives. Working closely with communities, analysing local issues and sensitivities, Kamara draws on historical, local knowledge, skills, crafts, tech­niques and materials to create appropriate sustainable solutions. Her designs are specifically tailored to provide for people’s real social and cultural needs. BILL KOUÉLANY – CONGO-BRAZZAVILLE a multi-disciplinary artist whose work explores urgent contemporary issues, and a potent catalyst for the arts in her region. Committed to creating oppor­tunities and fostering young artists, Kouélany founded and directs Les Ateliers Sahm, a space for experimentation and exchange, including studios, residencies, workshops and an annual programme of performances and seminars by international experts. DJAMILA RIBEIRO – BRAZIL a philosopher, writer, public intellectual and social justice activist, who is one of the most influential leaders in the Afro-Brazilian women’s rights movement. Ribeiro’s public speeches, TV programmes, essays and popular blogs provide a huge audience with insightful examination of crucial social phenomena, bringing new understanding, empowerment and hope for a more equitable society. ANOCHA SUWICHAKORNPONG – THAILAND an experimental filmmaker whose work pushes the boundaries of aesthet­ ics, vocabulary and form to reflect on Thai history and society. Actively involved in stimulating independent filmmaking, Suwichakornpong cofounded and is artistic director of a film fund that supports under­ represented voices, pro­duces works by emerging talents, and brings a new vision to filmmaking. 2019 PRINCE CLAUS NEXT GENERATION LAUREATE MÓNICA OJEDA FRANCO – ECUADOR a writer who challenges and unravels abominable and obscene elements of contemporary society, examining them from social, political, feminist and psychological perspectives. Rejecting the restraints of old con­ ventions and confronting readers with harsh realities, her intense depictions of power, fear, pain and vulnerability encompass new use of language and the genres of the next generation.



POLICY AND PROCEDURES THE PRINCE CLAUS AWARDS The Prince Claus Awards honour outstanding achievements in the field of culture and development. The awards are presented annually to individuals, groups and organisations whose cultural actions have a positive impact on the development of their societies. In keeping with the Prince Claus Fund’s guiding principles, the awards highlight significant contributions in regions where resources or opportunities for cultural expression, creative production and preservation of cultural heritage are limited. PROCEDURES The Fund invites cultural experts from its global network to nominate candidates for the awards. Research is carried out by the Fund’s Bureau and second opinions are sourced for all nominations. The Prince Claus Awards Committee meets twice a year to consider the information about the nominated candidates and presents its recommen­dations to the Board of the Prince Claus Fund. In December each year, the Prince Claus Awards are presented to the Laureates in a ceremony at the Royal Palace in Amsterdam in the presence of members of the Royal Family and an international audience. The Prince Claus Awards are also presented to the recipients at ceremonies in their respective countries by the Dutch Ambassadors. 2019 DATA For the 2019 Prince Claus Awards, 241 people were formally invited to make nominations. A total of 105 nominations was received and researched by the Bureau. The Prince Claus Awards Committee met on 7-8 December 2018 and drew up a shortlist for further research and second opinions from experts and advisors. During their second meeting on 28-30 May 2019, the Awards Committee conducted in-depth assessments of the 34 shortlisted candidates for the awards. The Awards Committee’s recommendations were presented to the Board of the Prince Claus Fund in June 2019.


POLICY AND CRITERIA The Prince Claus Fund maintains a broad view of culture open to all artistic and intellectual disciplines. The Prince Claus Awards are presented to artists and intellectuals in recognition of both the excellent quality of their work and their significant impact on the development of their society. The Awards are given to individuals, groups and organisations based mainly in Africa, Asia, Latin America and the Caribbean. Outstanding quality is a sine qua non for a Prince Claus Award. The quality of a laureate’s work is assessed in professional and personal contexts and for its positive influence on cultural and social fields. The Prince Claus Awards recognise artistic and intellectual qualities, experimentation and innovation, audacity and tenacity. They seek to foster inspirational leadership and to enhance the positive impact of cultural expression on societies.

The complete Report of the 2019 Prince Claus Awards Committee is available in Spanish, French, Dutch and English on the Fund’s website: www.princeclausfund.org.


Kamala Ibrahim Ishag Š Mohamed Noureldin



My Plant 1, 1998 217 × 343 cm Mixed media on canvas © Courtesy of the Sharjah Art Foundation

KAMALA IBRAHIM ISHAG – SUDAN – VISUAL ARTS Kamala Ibrahim Ishag (Omdurman, 1939) is a visual artist and teacher, a pioneering force, intellectual catalyst and inspiration in the develop­ ment of modern and contemporary art in Sudan. One of the first women to graduate (1963) from the College of Fine and Applied Art in Khartoum, she completed postgraduate studies at the Royal College of Fine Art in London (1964-66) and returned to teach in Khartoum, in time becoming professor and head of the painting department. Ishag was a founding member of the Khartoum School, an art movement that looked back to Arab and African traditions to forge a modern identity for the newly independent nation. However, her London introduction to existentialism, atomic theories, feminist thought and the work of William Blake and Francis Bacon had fired her with powerful ideas about creative expression. Looking for ways to break from local conventions, in 1971 Ishag founded the Crystalist Group with two of her students. Their Crystalist Manifesto published in 1976 characterised the world as infinite and unbounded, like the multitudes in a crystal with its transparencies, angles and reflections, and its splitting of normative white light into multiple hues. The Crystalists proposed to explore life free of any imposed ideology. They emphasised constant change and ‘becoming’, the contingency of perceptions, and the co-existence of contradictory possibilities as defining forces in modern art practice. Refusing to conform to a unitary vision, Ishag’s ideas rejected the dominant Khartoum School’s heritage model and the empirical world view, as well as critiquing Sudan’s male-dominated society trapped between competing hegemonies. Constantly searching for means to realise the Crystalist principles, Ishag has actively supported and mentored young women artists and, within her own artwork, she has focused on the intangible aspects of women’s lives. Her paintings and graphics are loosely figurative and narrative, and use distinctly personal imagery. They intentionally depict ambiguity and immaterial experiences, often evoking the indefinable connections within gatherings of women. The women’s bodies are often restricted, misshapen or distorted by structures that both unite and separate; sometimes isolated and suspended in transparent containers; sometimes almost disembodied. In most works the women are linked together, for example, by embroidery in Dinner Table, or with swirling lines of plants and incense in Preparation of Incense – Zar Ceremony (2015). Inspired by William Blake’s openness to spirituality and the natural world, Ishag has done field research and produced academic papers and numerous paintings about the Zar, a women’s spiritual ceremony related to psychological healing that is part of Sudan’s urban culture. More recently Ishag has been focusing on women’s interrelationship with plants and trees. Using forms and colours that suggest contingency, ‘becoming’ and the mental quality of experiences, her artworks express an alternative kind of being and knowing in visual form.



for her original, vibrant and haunting artworks that encourage viewers to see multiple layers of existence beyond objective physical appearance; for her deep exploration of women’s experience and her creative ingenuity in forging a non-sexist metaphysical art that gives women a new image in a male-dominated society; for her revolutionary intellectual challenge to the established artistic paradigm of Sudan and many African and Arab countries, spearheading an approach to art that liberates the mind from demagoguery; for her commitment to free individual thinking and expression, creating a fertile space within Sudanese society for introspection, resistance, engagement and freedom; for her ground-breaking support and empower­ment of women, leading the expansion of women’s roles and rights within Sudanese society; for her immense contribution to Sudanese artis­tic education, teaching and mentoring several gene­ rations of young artists, and establishing the lasting legacy of a more open and universal artistic discourse; and for her integrity and ongoing dedication to innovative aesthetic thought and creativity despite the repressive context and succession of crises in Sudan from the 1960s onward. From the 2019 Prince Claus Awards Committee Report


Faces, 1999 93 × 162 cm Oil on canvas © Courtesy of HE Sheikh Hassan Al-Thani Collection

Faces, 1998 99 × 162 cm Oil on canvas © Courtesy of HE Sheikh Hassan Al-Thani Collection

‫يأتى تكريم كماال إبراهيم إسحاق ‪:‬‬

‫ألعمالها الفنية المتسمة بااألصالة و المفعمة بالحيوية والمؤرقة‬ ‫التي تشجع المشاهدين على رؤية طبقات متعددة من الوجود تتجاوز‬ ‫المظهر الجسدي الموضوعي ؛‬ ‫إلستكشافها العميق لتجربة المرأة وإبداعها الخالق لصياغة فن‬ ‫ميتافيزيقي غير متحيز جنسيا ً يمنح المرأة صورة جديدة في مجتمع‬ ‫يهيمن عليه الذكور ؛‬ ‫لتحديها الفكري الثوري للنموذج الفني الراسخ للسودان والعديد‬ ‫من البلدان األفريقية والعربية وقيادتها نهجًا فنيا يحرر العقل من‬ ‫الديماغوجية ؛‬ ‫إللتزامها بحرية التفكير والتعبير الفردي وخلق مساحة خصبة داخل‬ ‫المجتمع السوداني للتأمل والمقاومة والمشاركة والحرية ؛‬ ‫لدعمها اإلبداعى الرائد وتمكينها للمرأة وقيادتها لتوسيع أدوار المرأة‬ ‫وحقوقها في المجتمع السوداني ؛‬ ‫لمساهمتها الهائلة في التعليم الفني السوداني ‪ ،‬وتعليم وتوجيه عدة‬ ‫أجيال من الفنانين الشباب ‪ ،‬وتأسيس إرث دائم لخطاب فني أكثر‬ ‫إنفتاحا ً وعالمية ؛ و‬ ‫لنزاهتها تفانيها المستمر للفكر الجمالي اإلبداعي واإلبداع على‬ ‫الرغم من السياق القمعي وتعاقب األزمات في السودان من العام‬ ‫‪ 1960.‬فصاعدًا‬

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‫كماال إبراهيم إسحاق‬

‫‪ -‬السودان ‪ -‬الفنون التشكيلية‬

‫كماال إبراهيم إسحاق (أم درمان ‪ )1939 ،‬فنانة تشكيلية ومعلمة تعد قوة رائدة ومحفز فكريا‬ ‫وإلهاما في تطوير الفن الحديث والمعاصر في السودان‪.‬كانت واحدة من المجموعة األولى‬ ‫من النساء الالئي تخرجن عام (‪ )1963‬من كلية الفنون الجميلة والتطبيقية في الخرطوم‬ ‫وأكملت دراساتها العليا في الكلية الملكية للفنون الجميلة في لندن (‪. )1966-1964‬ولدى‬ ‫عودتها للخرطوم بدأت كماال التدريس فى كلية الفنون الجميلة والتطبيقية وصارت فى الوقت‬ ‫المناسب أستاذا ورئيسا لقسم الرسم‪.‬‬ ‫وعند تعرفها فى لندن على الوجودية والنظريات النووية والفكر النسوي وأعمال ويليام‬ ‫بليك وفرانسيس بيكون تزودت بأفكا ًر قوية حول التعبير اإلبداعي ‪ .‬وبحثًا عن سبل‬ ‫للخروج من األعراف المحلية أسست كماال إسحاق مع مجموعة من طالبها في عام ‪1971‬‬ ‫“جماعة البلّوريين‪ . Crystalist‬وصف بيان البلوريين ‪ Crystalist‬المنشور عام ‪1976‬‬ ‫العالم بأنه بال حدود وغير محدود مثل التعددية الموجودة فى البلورة من شفافية وزوايا‬ ‫وإنعكاسات وتقسيمها الضوء األبيض المعياري إلى درجات متعددة‪ .‬وتطلع البلوريون إلى‬ ‫إستكشاف حياة خالية من أي أيديولوجيات ومحرمات إجتماعية ومحظورات مفروضة ‪.‬‬ ‫وشددوا على التغيير المستمر وعلى عالم فى حالة من « الصيرورة» وضرورة المفاهيم‬ ‫والتعايش بين اإلحتماالت المتناقضة بإعتبارها القوى المحددة في ممارسة الفن الحديث‪.‬‬ ‫ورفضا للتوافق مع رؤية موحدة فقد أبت أفكارت كماال قبول نموذج التراث السائد في‬ ‫مدرسة الخرطوم والنظرة‬ ‫للعالم القائمة على هوية سودانية متخيلة فضالً عن المناداة بفرص متكافئة للنساء للحصول‬ ‫على أماكن فى عالم الفن وفقا لمؤهالتهن ومنجزاتهن ‪.‬‬ ‫وخالل بحثًها الدائم عن وسائل لتحقيق المبادئ البلورية قدمت كماال إسحاق الدعم النشط‬ ‫و التوجيه للفنانات الشابات كما ركزت في إطار عملها الفني الخاص على الجوانب غير‬ ‫الملموسة لحياة المرأة‪ .‬تعتبر لوحاتها ورسوماتها وأعمالها التصميمية التى تستخدم صورًا‬ ‫شخصية مميزة رمزية وسردية بشكل فضفاض ‪.‬وهى تتعمد تصوير الغموض والتجارب‬ ‫غير المادية وغالبا ما تستحضر الروابط التي ال يمكن تحديدها داخل تجمعات النساء‪ .‬وغالبًا‬ ‫ما تكون أجساد النساء مقيدة أو ممسوخة أو مشوهة بواسطة هياكل تتسبب فى توحيدها و‬ ‫تقسيمها فى ذات الوقت ؛ وتكون أحيانا معزولة ومعلقة في حاويات شفافة ؛ تكاد تكون غير‬ ‫مجسدة فى بعض األحوال ‪ .‬ويتم في معظم أعمال كماال ربط النساء معًا على سبيل المثال‬ ‫بالتطريز في طاولة العشاء ‪ ،‬أو بخطوط على شكل دوامة من النباتات والبخور في تحضير‬ ‫البخور – حفل الزار (‪.)1966‬‬ ‫وأستلهاما من إنفتاح وليام بليك على الروحانية والعالم الطبيعي أجرت كماال أبحاثا ميدانية‬ ‫لعبت فيها دورالمراقب المشارك كان نتاجها مجموعة من اللوحات تتعلق بطقس الزار‬ ‫للشفاء النفسي الذي يعد جزء من الثقافة الحضرية في السودان‪ .‬وركزت كماال في اآلونة‬ ‫األخيرة على العالقة المتبادلة بين النساء والنباتات واألشجار والعناصر العضوية ‪ .‬و تعبر‬ ‫أعمالها الفنية عن نوع بديل من الوجود والمعرفة في شكل بصري بإستخدام أشكال وألوان‬ ‫توحي بالضرورة و حالة “الصيرورة “ والتفتح التلقائى ‪.‬‬

‫‪25‬‬ ‫‪3‬‬

Procession (The Zar), 2015 175 × 175 cm Oil on canvas © Courtesy of Kamala Ibrahim Ishag

Two Women (Eve and Eve), 2016 190 × 205 cm Oil on canvas © Courtesy of Kamala Ibrahim Ishag

Composition, 2016 ø 45.5 cm Oil on leather drum © Courtesy of the Sharjah Art Foundation

Composition, 2016 ø 45.5 cm Oil on leather drum © Courtesy of the Sharjah Art Foundation

Awaiting the Birth of a Child – Zar Ceremony, 2015-2017 133 × 135 cm Oil on canvas © Courtesy of Roubi L’Roubi

Preparation of Incense – Zar Ceremony, 2015 139 × 141 cm Oil on canvas © Courtesy of Roubi L’Roubi

Composition, 2016 ø 44 cm Oil on calabash ball surface © Courtesy of the Sharjah Art Foundation

Composition, 2016 ø 44 cm Oil on calabash ball surface © Courtesy of the Sharjah Art Foundation


The news of Kamala Ibrahim Ishag winning the 2019 Principal Prince Claus Award came as music to the ears, not only of the art community in Sudan, but also the contemporary art world in both Africa and the Arab world. The news also came as a vindication for Ishag, as she, like many African and non-Western artists, has not yet received the critical recog­ nition she deserves. As we well know, the dominant art historical narrative of the Eurocentric art world leaves out the massive contribution of many non-Western artists as well as denies their contribution to contemporary art practices of their times. The news also came as a pleasant coincidence as “I DON’T SEE THE WORLD AS Kamala’s well-deserved award was announced during HAVING FIXED, ESTABLISHED the unfolding of Sudan’s democratic revolution, SYSTEMS. LIFE IS EVERin which women have been in the forefront of CHANGING AND AS SUCH organising and resisting oppression and the fight SOCIETY IS ALWAYS EVOLVING, for democracy and human rights. As estimated by EVEN IF IN IMPERCEPTIBLE many, more than half of those who took to the SPEED. ART, LIKE LIFE, IS streets during the Sudanese uprising were women. CONTINUALLY CHANGING. THE Therefore, her award comes as added value to CRYSTALIST SCHOOL WAS the resilience of women in the struggle for justice CREATED AS CONTINUATION and freedom. TO THE EXISTING SYSTEM, Beyond the symbolism of the award, Kamala’s life IT WAS A NATURAL EVOLUTION and artistic accomplishments should be instructive THAT PRESENTED A NEW in exploring African artistic modernism and contem­ PERSPECTIVE ON SOCIETY. poraneity. A committed artist and intellectual, she HAD IT NOT DEVELOPED, was indeed among those revolutionary figures who SOMETHING ELSE WOULD exerted a powerful influence on younger Sudanese HAVE COME UP.” artists looking for new tropes of self-represen­ – KAMALA IBRAHIM ISHAG tation and self-expression. A serious re-examination of contemporary art practices can only be possible when the intersection of gender, among other factors, is brought to the forefront of cultural 34

production. In this regard, Ishag’s life and work are exemplary in bringing to the fore her subjectivity as a woman artist by exploring deeper layers of the human psyche from a gendered perspective. However, Kamala is not only a pioneering African “WOMEN ARE A DRIVING FORCE woman artist, but also a master modernist, and a IN SOCIETY, FOR CHANGE AND highly innovative contemporary artist, who has STABILITY. IN TERMS OF ART, continued to be active for over five decades. She I SEE THE ARTIST AS AN is also a leading figure in the conceptual movement INDIVIDUAL, INDEPENDENT in Sudan of the 1970s and 1980s known as the OF THEIR GENDER. FEMALE Crystalist School, and above all, a teacher and a ARTISTS CANNOT BE role model to generations of younger artists. CLASSIFIED AS A GROUP I have known Kamala Ibrahim Ishaq as an artist, SINCE EACH ONE HAS A and a professor of painting, for more than three DIFFERENT PERSPECTIVE decades, first as a colleague at Khartoum’s College AND LIFE EXPERIENCE.” of Fine and Applied Art, and second as an artist with – KAMALA IBRAHIM ISHAG whom I have collaborated. She also participated in several exhibitions I curated or co-curated such as Seven Stories About Modern Art in Africa at the Whitechapel Art Gallery in 1995, and TransAfrican Art at the Orlando Art Museum in 1997. Most recently, I co-curated with Hoor Al Qasimi, the exhibition Women in Crystal Cubes,1 which is the first retro­ “A GOOD ART TEACHER ALWAYS spective ever to explore Ishag’s aesthetic and DRAWS OUT THE BEST IN HER/ artistic practice. The title of Kamala’s retrospec­ HIS STUDENTS, ALLOWING tive is inspired by her memorable 1978 exhibition at EACH TO REPRESENT THEIR the Sudan National Museum, Women in Crystal Cubes, TRUE SELF. TO SUCCEED, featuring depictions of distorted female faces A TEACHER HAS TO BE PATIENT, imprisoned in crystalline cubes and spheres that FAIR, AND ABOVE ALL, dominated her signature large canvases. The exhibi­ UNDERSTANDING. THESE tion traces Kamala’s half-century journey as an QUALITIES ENABLE THE artist. It begins with her graduation work from the TEACHER TO SEE EACH STUDENT College of Fine and Applied Art, Khartoum in 1963, AS UNIQUE RATHER THAN TO follows her career in London where she studied mural MOULD THEM INTO A TYPE.” painting at the Royal College of Art between 1964 – KAMALA IBRAHIM ISHAG and 1966, and spans her return to Sudan and threedecade’s tenure as a professor in the painting department at Khartoum’s College of Fine and Applied Art. 35

The exhibition also examines her practice during subsequent years of extended living in London and “MY COUNTRY JUST WENT Muscat in the Sultanate of Oman, until her return THROUGH A POPULAR to Sudan in the early 2000s. UPRISING THAT WAS Kamala’s studies at the Royal College were EXPERIENCED AND REFLECTED formative to her career. Her early interest in the THROUGH ART. PEOPLE OF ALL work of the English painter and writer William Blake, PERSUASIONS PAINTED THE in particular his exploration of spirituality and IMAGES OF THOSE WHO LOST incarnation through the sublime power of poetry THEIR LIVES; ON WALLS, resonated with her own contemplation of spirit CANVASES, AND ANY SUITABLE possession practices by Sudanese women known as SURFACE. THEY PAINTED Zar. The unlikely convergence would lead to the SYMBOLS OF UNITY FOR THE development of central themes and styles in her PEOPLE LIKE THE FLAG. work that run through her oeuvre. Such influences AMATEUR AND BUDDING can be seen in the distorted faces and figures of ARTISTS BEGAN WHAT THEY women in her paintings, that are mostly rendered HOPED WOULD BECOME THE in dark monochromic tones of brown. Even when LARGEST PAINTING ON CANVAS brighter colours are used in her work, Kamala IN THE WORLD. THEIR rigorously and deliberately mutes the palette, as INDIVIDUAL CONTRIBUTIONS in her series inspired by the brooding, figurative WERE UNCONSTRAINED AND paintings of Francis Bacon. REFLECTED THEIR OWN Kamala’s role as a pioneering figure in Sudan and PERSPECTIVES. THE PAINTING the larger Arab and African modern art scene, is WAS A FORM OF DEMON­ most evident in her role in the formation of the STRATION AND A POWERFUL Crystalist School, a conceptual art movement that SYMBOL OF UNITY IN THE she co-founded in the mid-1970s. Kamala’s paintings FIGHT FOR FREEDOM. of the period explore and expand on the principles UNFORTUNATELY, THE CANVAS of the Crystalist Manifesto that she helped author. – IN THREE WAREHOUSES – The Crystalists (al-jama‘a al-kristaliyyah)2 were WAS DES­TROYED BY among the first groups to decisively depart from THE MILITIA.” the predominant modernist movement known as the – KAMALA IBRAHIM ISHAG Khartoum School, and its aesthetics and ethos. In 1978, the group issued the Crystalist Manifesto, outlining a set of ideas that advocated for a new aesthetic that critiqued the established Khartoum School. In a counter-narrative to the hegemony of the ideology of ‘Sudanism’ and the ‘return to the source’, the Crystalist Manifesto foregrounds change and a state of constant 36

‘becoming’ as defining forces of an art practice. It envisions the universe as a crystal cube — clear but always changing according to the viewer’s position. Within this crystalline structure, human beings are prisoners of an absurd destiny; one’s perception of the universe, like looking into a crystal, is constantly altered by changes in light and one’s physical surroundings. The paintings of Kamala Ibrahim Ishag offer a straightforward engagement with the principles of the Crystalist Manifesto. The deliberate sense of transparency that is characteristic of her large canvases is dominated by distorted images of female faces that are imprisoned in crystalline cubes and spheres. Other defining works to emerge from the group were the public performances conceived by Mohammed Hamid “ART ALLOWS PEOPLE Shaddad in the early to mid-1970s, similar to those TO IMAGINE THE UNSEEN known as ‘happenings’ within Western art circles of AND UNEXPERIENCED. the 1960s and 1970s. BY SHOWING DIFFERENT Kamala’s career cannot be imprisoned in one style, PERSPECTIVES OF ELEMENTS as she has moved on to explore other themes that IN SOCIETY, ART CAN OPEN have come to define the multiplicity of her oeuvre PEOPLE’S EYES. I BELIEVE such as the flora and plants world, which have become THE SIMPLE ACT OF SEEING A a rich source for new forms and compositions DIFFERENT PERSPECTIVE IS A witnessed in her most recent paintings. In addition, SEED IN THE HUMAN MIND as part of the larger vibrant intellectual scene of THAT ENABLES INDIVIDUALS Sudan of the 1970s, Kamala has collaborated with AND THUS SOCIETIES TO Sudanese poets, writers and scholars by gracing PROGRESS. THIS ROLE IS NO their publications with cover designs and DIFFERENT, THOUGH PER­HAPS illustrations, as displayed in many publications of MORE URGENT, IN REPRESSIVE the period. SOCIETIES.” Most important, Kamala continues to be very – KAMALA IBRAHIM ISHAG active and most prolific despite the political impediments that she faces as a woman artist, and the economic crisis that has plagued Sudan for over three decades due to the corrupt and despotic policies of the military fundamentalist Islamist regime of El Bashir who was recently deposed as a result of the ongoing people’s uprising of December 37

2018. Kamala continues to organise exhibitions, and her work has recently been acquired by several private collectors, public museums and other insti­ tutions, including Jordan National Gallery of Fine Art, the Sharjah Art Foundation, and the Museum of Women in the Arts in Washington, DC. And, as always, Kamala continues to mentor younger artists and advocate for Sudanese women artists. In conclusion, Kamala is well deserving of the Prince Claus Award. It is the right time to bestow such an honour on her, if not long overdue. 1 An edited version of Women in Crystal Cubes is currently on display at the Prince Claus Gallery (31 October 2019 - 1 May 2020). 2 The group which was spear­ headed by Ishag and included her students Mohammed Hamid Shaddad, Nayla Eltayeb, Hashim Ibrahim, Hassan Abdalla, and El Derdiri Mohammed Fadul.


Photograph of Kamala Ibrahim Ishag, 1960s © Courtesy of the Artist

Loneliness, 1987 108 × 112 cm Oil on canvas © Courtesy of the Jordan National Gallery of Fine Arts

Untitled, 1975-1980 177 × 180 cm Oil on canvas © Courtesy of Private Collection

Women in Crystal Cubes, 2015 115 × 155 cm Oil on canvas © Courtesy of Samia Omar Osman

Girls, 1962 42.5 × 48.5 cm Ink and acrylic on paper © Courtesy of Private Collection

Women in Crystal Cubes, 1984 185 × 192 cm Oil on canvas © Courtesy of the Sharjah Art Foundation

Festival, 2016 140 × 250 cm Oil on canvas © Courtesy of Salah Elmur

Paulina Suarez Hesketh, director of Ambulante Š Courtesy of Ambulante



AMBULANTE – MEXICO – AUDIO-VISUAL Ambulante (2005, Mexico City) is a non-profit organisation dedicated to supporting and promoting documentary films in a way that stimulates social and cultural change. Its annual travelling film festival takes documentary films and training programmes to places around Mexico where they are rarely available. It is the largest documentary festival in the country and more than 60% of its activities are free. For its 14th edition in 2019, Ambulante toured 138 films across eight of Mexico’s states for three months. Screenings are held in diverse venues including multiplex cinemas, community halls, public parks and plazas, arts centres, university campuses, the National Cinematheque and museums. To increase awareness and engage the public in rethinking local problems, screenings are followed by discussions with the filmmakers and local NGOs, and linked to workshops, seminars, industry panels and forums connected with issues highlighted in the films. The festival foregrounds diversity and an international and intercultural perspective. For example, the 2018 Ambulante For Justice section invited debate on authoritarianism and inequality through screenings of Switzerland/Russia’s The Moscow Trials, South Africa’s The Gugulethu 7, and the United States’ The Thin Blue Line. Other films have included Las visitadoras, which looks at the lack of justice for indigenous Mexicans through the eyes of a court inter­ preter; I Am Not Your Negro; 500 years, on indigenous resistance in Guatemala; Un amor en rebeldía, about a pioneering LGBTQ+ activist in Mexico; On Her Shoulders, about Yazidi activist Nadia Murad; Kusama: Infinity, a portrait of a Japanese artist; Cassandro, the Exotico!, a wrestler who challenges stereotypes. The festival features sections on music documentaries and experimental films, an archival programme and a children’s programme, among others. Ambulante initiates international exchanges, participates in regional film festivals and runs a film training programme, Ambulante Beyond, which nurtures independent filmmaking in rural areas and with indigenous communities. Founded by Gael García Bernal, Diego Luna, Elena Fortes and Pablo Cruz, Ambulante is directed by Paulina Suarez Hesketh. It achieves a high level of public engagement both directly and through social media. In 2018-19, Ambulante contributed to socio-political action with the documentary Hasta los dientes (‘Armed to the teeth’, Alberto Arnaut, 2018) which chronicles the extra-judicial exe­cution of two students by the Mexican army in 2010. Following more than 1000 screenings, including in the Senate, Supreme Court and a private screening with the Interior Minister, plus print, online and tv debate, the Mexican State recognised its responsibility and issued a formal apology to the students’ families. It was the first time in Mexican history that a documentary impacted so directly in the cause for justice.



for its dynamic and visionary commitment to documentary film as a means of raising awareness and building solutions for social issues; for decentralising and democratising culture, transcending established circuits to bring ideas and inspiration to people in places where access to cultural manifestations is restricted; for its creative production of consistently high quality, eclectic programmes presenting alternative realities, enabling Mexicans to better understand their own and other cultures; for its powerful, multifaceted contributions to film culture in Mexico, particularly supporting hidden talent, opening new channels of expression, generating engaged, informed and critical audiences, and promoting Mexican documentaries nationally and internationally; for expanding civic and social participation, strengthening communities and regenerating Mexico’s social fabric through activities that build trust and confidence in community organisation and culture; for its energetic efforts using film to foster discussion and help people to rethink existing ideas about current issues, social problems and public policies, clearly demonstrating culture’s vast potential to effect social change; and for pushing beyond stereotypical impressions of Mexico and helping the country to face its own identity and look to the future. From the 2019 Prince Claus Awards Committee Report


Ambulante Beyond (Travelling Film School), 6th Generation Š Courtesy of Ambulante

AMBULANTE – MÉXICO – AUDIOVISUAL Ambulante (Ciudad de México, 2005), es una organización sin fines de lucro dedicada a apoyar y a promover el cine documental de una manera que estimula la transformación social y cultural. Su festival de cine anual ambulante lleva el cine documental y los programas de formación a lugares de todo México donde casi nunca llegan. Ambulante es el fes­tival de cine documental de mayor alcance del país, ofreciendo un 60% de sus actividades de manera gratuita. En su décimo cuarta edición de 2019 se proyectaron 138 películas en ocho estados de México durante una gira de tres meses. Las proyecciones tienen lugar en diferentes espacios, entre los cuales se incluyen salas de cine multiplex, recintos comunitarios, parques públicos y plazas, centros de arte, sedes universitarias, la Cineteca Nacional y museos. Con el fin de gene­rar mayor conciencia y participación por parte del público y reflexionar sobre problemas sociales, al término de la proyección de documentales se da paso a conversaciones con realizadores y ONGs locales, y se realizan talleres, seminarios, paneles de industria, así como foros, relacionados a cuestiones que se enfocan en los documentales. El festival destaca la diversidad y la perspectiva internacional e intercultural. En 2019, por ejemplo, la sección denominada Ambulante para la Justicia, de 2018, organizó un debate sobre el autoritarismo y la desigualdad proyectando películas como The Moscow Trials, una pro­ ducción Suiza/Rusia, The Gugulethu 7, de Sudáfrica y The Thin Blue Line, de Estados Unidos. Otros títulos incluidos fueron Las visitadoras, docu­mental en el cual se aprecia la falta de justicia con respecto a los indígenas mexicanos, y mostrado a través de la perspectiva de una intérprete de juzgado; I Am Not Your Negro; 500 Years, que trata sobre la resistencia indígena en Guatemala; Un amor en rebeldía, que trata sobre una activista LGBTQ+ pionera en México; On Her Shoulders, sobre la activista yazidí, Nadia Murad; Kusama: Infinity, que hace un retrato de un artista japonés; Cassandro, el Exótico!, que retrata la vida de un luchador que desafía los estereotipos. El Festival cuenta, con sec­ ciones de documentales musicales y películas experimentales, un programa de archivos y un programa infantil, entre otros. Ambulante inicia intercambios internacionales, participa en festi­ vales de cine regionales, y dirige un programa de formación de cine, Ambulante Más Allá, dirigido a fomentar la realización cinematográfica independiente en áreas rurales y con las comunidades indígenas. Ambulante fue fundada por Gael García Bernal, Diego Luna, Elena Fortes y Pablo Cruz, y la dirige la realizadora Paulina Suárez Hesketh. Ha alcanzado un alto nivel de compromiso de audiencias, tanto directa­ mente como a través de las redes sociales. En 2018-19, Ambulante con­ tribuyó a la acción socio-política mediante el documental Hasta los dientes, de Alberto Arnaut, (2018), que relata la ejecución extra­judicial de dos estudiantes por parte del Ejército mexicano, acaecida en 2010. Después de más de 1000 proyecciones, que incluían el Senado, la Corte Suprema, la proyección en privado con el ministro del interior, además de la prensa escrita, online y el debate televisivo, el Estado mexicano tuvo que admitir su responsabilidad en el asunto pidiendo disculpas formales a las familias de los estudiantes. Esa fue la primera vez en la historia de México que un documental tuvo un impacto tan directo en la causa por la justicia.



por su dinámico y visionario compromiso con el cine documental como medio para generar conciencia y buscar soluciones a cuestiones sociales; por descentralizar y democratizar la cultura trascen­ diendo los circuitos establecidos con el fin de llevar ideas y poder inspirar a las personas en lugares donde las manifestaciones culturales se ven limitadas; por su producción creativa de programas eclécticos de alta calidad, que muestran realidades alterna­ tivas, lo cual posibilita a los mexicanos entender mejor, además de su propia cultura, también a otras culturas; por sus poderosas y multifacéticas aportaciones a la cultura cinematográfica de México, en especial en su apoyo a talentos ocultos, abriendo nuevos canales de expresión, y generando una audiencia comprome­ tida, informada y crítica, y por promover los documen­ tales mexicanos a nivel nacional e internacional; por expandir la participación cívica y social, forta­ leciendo a comunidades y regenerando el tejido social de México mediante actividades que propor­ cionan seguridad y confianza en la organización y la cultura de la comunidad; por sus esfuerzos cargados de energía en utilizar el cine con el fin de fomentar el diálogo y ayudar a las personas a reconsiderar las ideas existentes acerca de cuestiones actuales, problemas sociales y políti­ cas públicas, demostrando claramente con ello el amplio potencial que posee la cultura para llevar a cabo el cambio social; y por ir más allá de las impresiones estereotípicas sobre México, ayudando así al país a afrontar su propia identidad y mirar hacia adelante. 55


In the early 2000s ‘documentary’ in Mexico still connoted a boring, educational, made-for-TV movie. There was nothing appealing, creative or, much less, “AS WE WATCH A DOCUMENTARY seductive about the term, and there were few FEATURE — PARTICULARLY venues for its production and distribu­tion outside CHARACTER-DRIVEN ONES of public television. Fast forward to the 2017 — WE BECOME SOMEONE ELSE, Mexican Academy Awards in which the Best Director WE EMBODY ANOTHER’S and Best Picture were awarded to Tatiana Huezo for PERSPECTIVE. FOR THAT HOUR Tempestad – a woman director and a documentary! AND A HALF, A MIGRANT What happened in those 15 years? WORKER IS NOT THE ‘OTHER’, The digital revolution that brought the cost of HE IS ME; A MOTHER SEARCHING film production down not only democratised who could FOR HER DISAPPEARED make films, but also opened up the possibility for DAUGHTER IS NOT SOMEONE creative experimentation as filmmakers could work ELSE, SHE IS ALL OF US. independently from the studios and broadcasters. THAT CAPACITY TO BUILD Yet without venues and audiences this zeitgeist A PROFOUND, AFFECTIVE would have fizzled. It was in this context that CONNECTION WITH A FILMED Ambulante was born in 2005. Its founders not only SUBJECT, TO FUSE OUR saw a need and an opportunity for the exhibition of SUBJECTIVITY AND SENSORY these films, but they had a social mission that under­ PERCEPTION WITH THEIRS stood that democratising the exhibition space was THROUGH IDENTIFICATION, also political and revolutionary. CAN CREATE SOLIDARITY AND Documentarians, like myself, are often drawn to UNDERSTANDING. BUILDING give voice to the invisible. Ambulante brought COMMON GROUND IS ONE OF documentary film to those same audiences that we DOCUMENTARY’S GIFTS: were making films about – those who otherwise had IT GIVES US A SENSE OF not been deemed worthy to see them and as such had A SHARED DESTINY WITH been left out of a much larger political discourse. OTHERS.” – AMBULANTE Ambulante travelled with their projec­tors and screens to show films in the most remote corners of Mexico to people who previously ‘had not mattered’. They broke barriers about what could be seen and who could watch. They eventually expanded this democratising project to push the boundaries of who could make films by creating an itinerant film school, Ambulante Más Allá, that reached these communities. 56

When asked to write this laudation I went back to the email I received from Ambulante’s founding PATRICIO GUZMÁN HAS director Elena Fortes in 2005 inviting my first feature STATED THAT A COUNTRY documentary to their first documentary tour. We WITHOUT DOCUMENTARY grew up together and looking back to their mission CINEMA IS LIKE A FAMILY statement moves me deeply for its profound belief WITHOUT A PHOTO ALBUM. that we could change our world. “CHILEAN FILMMAKER



“Despite globalisation, the world is socially, politically and culturally divided. Nonetheless the ARE DEEPLY FRAGMENTED images and sounds that prevail in mass media do IN TERMS OF CLASS, not reflect our reality. Documentaries capture GEO­GRAPHY, ETHNICITY, those unprotected fragments of our reality, INEQUALITY. GLOBALI­SATION revealing the complexity of all that surrounds us. AND MASS MOBILISATION Documentary is intimately connected to our HAVE IMPACTED OUR SENSE OF human capacity to understand and transform our AFFECTIVE BELONGING AND world and to defy [overcome, surpass] our social, CAPACITY TO SEE OURSELVES political and environ­mental condition… AMBULANTE AS PART OF A COMMUNITY, abandons the position of the passive exhibitor AND HENCE and adopts an active position, taking documen­ OUR SENSE OF POLITICAL taries to places where they are not seen, with RESPONSIBILITY TO THAT the goal of building an audience that can parti­ COMMUNITY.” – AMBULANTE cipate in a collective vision and reclaim a diverse media culture.” (Ambulante Mission Statement 2005) CRITICAL IN PLACES THAT

Ambulante is not just a documentary exhibition project, it is a complex social project that under­ stands the deep fissures in our country and aims to change them. Fearlessly Ambulante has pursued its vision and it has succeeded not only in its ideo­ logical aim but has also made documentary cool. “IN MY VIEW, NON-FICTION An ambulante in Mexico is a salesperson who works CINEMA IS THE AVANT-GARDE in the streets. The tradition dates back to our ART OF OUR TIMES: ITS indigenous origins and is deeply embedded in our VITALITY AND DYNAMISM identity. Usually part of the informal economy, CONTINUOUSLY REVEAL WHAT ambulantes exist despite the government, despite WE HAVE YET TO FULLY GRASP the big corporations, despite globalisation… They OTHERWISE.” – AMBULANTE are a symbol of defiance and independence that refuses to dwindle. 57

TOP Ambulante screening tent during Ambulante festival © Courtesy of Ambulante

Screening of Los testigos de Putin (‘Putin's Witnesses’) with Vitaly Mansky in the Henestrosa Library © Courtesy of Ambulante

TOP Filming Tita, tejedora de raíces (Tita, roots weaver), dir. Mónica Morales, 2018 © Courtesy of Ambulante

Dance (Jarocho) after the projection of La tercera raíz (The third root) in Xalapa, Veracruz © Courtesy of Ambulante

Ambulante 2019, outdoor screening in Veracruz © Courtesy of Ambulante

Mariam Kamara Š Courtesy of the Artist



MARIAM KAMARA – NIGER – ARCHITECTURE Mariam Kamara (Niamey, 1980) is an architect who sees architecture as a means to serve communities and improve lives. Convinced she could achieve more for people through architecture, she abandoned a Master’s in Computer Science and seven-year career to study for a Master’s in Architecture (University of Washington). She co-founded united4design (2013), a collaborative project team, and on her return to Niger established the architecture and research firm, atelier masom (2014). Kamara’s work is strongly rooted in the local context, responding to immediate social, economic and climatic conditions. Highly skilled in observing and communicating with communities, her primary concern is people’s real needs and aspirations. Niamey 2000 (completed 2016), Kamara’s first built project, done with united4design, is a housing complex that reflects the primacy of communal life and draws inspiration from the region’s organically configured precolonial cities. Designed to serve the city’s expanding population, it provides innovative solutions to problems of density, economy, identity and climate. It rejects high-rise towers that damage the social fabric in favour of compact homes of two and three storeys that feature outdoor kitchens and living rooms. It provides a strong sense of privacy and intimacy but connects the dwellings with communal areas. Kamara works closely with local engineers, masons and craftspeople to adapt local building methods and uses local materials, in particular compressed earth bricks (CEBs). Made cheaply and locally, CEBs retain cool air and repel heat, lower energy consumption and users costs, and reflect local aesthetics. Her designs incorporate sustainable environmental solutions such as passive cooling, natural ventilation, extensive planting, underground reservoirs to capture rain and drip irrigation systems. Kamara’s striking Regional Market (2018) features a succession of colourful metal canopies at alternating heights to enhance air flow and provide shade and thermal protection. Work in progress includes Niger’s first multi-storey CEB building and a public promenade that boldly injects a contemporary interpretation of traditional rural grain stores into an urban milieu. Several of Kamara’s projects engage with gender and secular issues in Niger’s Muslim society. For the Hikma Religious and Secular Complex (2018), Kamara combined a new mosque with a literacy centre and a library in the renovated derelict mosque. This combination of diverse public facili­ties on a single site enables women and men to interact more freely while attending regular but usually segregated activities. Kamara has also created a new urban spatial typology, “mobile loitering” that allows women to enjoy a right to the city like their male counter­ parts. By inserting covered shelters in unclaimed spaces along a route to schools, the market, offices and shops, she has established freely accessible spaces where women can meet openly but avoid societal criticism because they appear to be on their way to carry out necessary tasks.



for her outstanding talent in devising beautiful, imaginative, aesthetically relevant and practical designs; for prioritising human needs and using skilled communication with the involved communities as the foundation for genuine responses to their specific realities and aspirations; for her innovative spatial and material solutions that balance local requirements and cultural values with responsible economic, social and environmentally sustainable design principles; for her engaged and thoughtful investigations regarding gender issues in a context characterised by limited access to public spaces for women; for demonstrating the social impact of architecture and effecting positive social change by designing buildings and spaces that are more democratic and socially and economically empowering; and for her significant contribution to contemporary thinking about modernity in Africa, redefining and shaping local modernity based on local identity and life, rather than copying what is done elsewhere. From the 2019 Prince Claus Awards Committee Report


Dandaji Market. Design team: Mariam Kamara and Harouna Diallo for atelier masom Š Maurice Ascani







8 9


6 5


2 3


1 faada (gathering place) 2 entry 3 guest bedroom 4 living room

5 dining room 6 ventilation shaft 7 kitchen 8 storage 9 outdoor kitchen




Ground Level



Niamey 2000 Project. Design team: Yasaman Esmaili, Elizabeth Golden, Mariam Kamara, Philip Straeter © united4design





11 10

10 terrace 11 outdoor laundry 12 master bedroom 13 bedroom

Upper Level




MARIAM KAMARA – NIGER – ARCHITECTURE Pour l’architecte Mariam Kamara (Niamey, 1980) l’architecture un moyen de répondre aux besoins des communautés et d’améliorer des vies. Après avoir obtenu un master en informatique et travaillé durant sept ans dans ce secteur d’activité, elle acquiert la conviction que l’architecture peut lui permettre de faire davantage pour les gens. Elle entreprend alors des études d’architecture à l’Université de Washington et cofonde united4design, une équipe de projet collaboratif. A son retour au Niger, elle crée une agence d’architecture et de recherche, L’Atelier Masom (2013). Fortement enraciné dans le contexte local, le travail de Kamara tient compte des conditions sociales, économiques et climatiques. Kamara est très à l’écoute des populations et communique beaucoup avec les communautés, sa préoccupation première étant de répondre aux besoins et aux aspirations des habitants. Niamey 2000 (achevé en 2016) est le premier projet architectural de Kamara. Il s’agit d’un ensemble d’habitations qui donne la primauté à la vie communautaire et puise son inspiration dans les villes précolo­ niales de la région construites de manière organique. Conçu pour répondre à la croissance de la population de la ville, il offre des solutions innovantes aux problèmes de densité, d’économie, d’identité et de climat. Rejetant les hautes tours préjudiciables à la constitu­ tion d’un tissu social, Kamara opte ici pour des habitations compactes de deux ou trois étages équipées de cuisines et de salles de séjour extérieures en terrasses. L’intimité est bien préservée mais les logements sont reliés à des zones communautaires ombragées. Kamara travaille en étroite collaboration avec des ingénieurs, des maçons et des artisans locaux afin de concilier les pratiques contem­ poraines avec les méthodes de construction locales et l’utilisation des matériaux de la région, en particulier les briques de terre compri­ mée (BTC). Fabriquées à peu de frais et sur place, les BTC retiennent la fraîcheur de l’air froid et repoussent la chaleur ; elles réduisent la consommation d’énergie et les coûts de production, et sont le reflet de l’esthétique locale. Dans ses projets, Kamara intègre des solutions durables tels que le refroidissement passif, la ventila­tion naturelle, la plantation extensive, les réservoirs souterrains pour recueillir l’eau de pluie et les systèmes de micro-irrigation. Pour son remarquable Marché Régional (2018), elle a créé une succession d’auvents métalliques de plusieurs couleurs, placés à différentes hauteurs. Ils améliorent la circulation de l’air et offrent d’ombre et protection thermique. Parmi les travaux en cours actuellement, on peut citer le premier immeuble multi-étages du Niger en BTC et une promenade publique qui introduit dans un milieu urbain une interprétation contempo­raine des rideaux à grain traditionnels de la campagne nigérienne. Plusieurs projets de Kamara s’intéressent aux questions d’égalité sexuelle et de laïcité dans la société musulmane du Niger. Pour l’ensemble Hikma Religious and Secular Complex (2018) Kamara associe une nouvelle mosquée et un centre d’alphabétisation avec une bibliothèque située dans l’ancienne mosquée rénovée. En combinant plusieurs établissements publics sur un seul site, elle permet aux femmes et aux hommes de communiquer plus librement tout en partici­ pant aux activités qu’ils fréquentent d’habitude séparément.


Kamara a également créé une nouvelle typologie spatiale urbaine, « mobile loitering » (flânerie ambulante) qui permet aux femmes de jouir de la ville au même titre que leurs homologues masculins. En insérant des abris couverts dans des espaces non déclarés sur les routes qui mènent aux marchés, aux bureaux et aux magasins, elle a créé des lieux librement accessibles où les femmes peuvent se rencontrer ouvertement, en évitant les critiques sociétales parce qu’elles semblent vaquer aux tâches qui leur incombent. LE PRIX PRINCE CLAUS EST DÉCERNÉ À MARIAM KAMARA:

pour son formidable talent à imaginer des projets d’une grande beauté, novateurs, importants du point de vue esthétique et pratique ; pour la priorité qu’elle donne aux besoins humains et son utilisation d’une bonne communication avec les communautés concernées comme base pour apporter des solutions réelles aux réalités et aux aspirations spécifiques des habitants ; pour le caractère novateur des solutions spatiales et des matériaux qu’elle propose, trouvant un juste équilibre entre les exigences locales et les valeurs culturelles d’une part et les principes de construction responsables aux niveaux économique, social et environnemental ; pour ses enquêtes approfondies sur la question de l’égalité des sexes dans un contexte où l’accès aux espaces publics est limité pour les femmes ; pour sa démonstration de l’impact social de l’architecture et pour les changements sociaux positifs qu’elle génère en créant des bâtiments et des espaces plus démocratiques et émancipatoires d’un point de vue social et économique ; pour sa contribution majeure à une réflexion contem­ poraine sur la modernité en Afrique, redéfinissant une modernité locale basée sur l’identité et la vie des communautés, et non sur la copie de ce qui a été fait ailleurs. 71

HIKMA, a religious and secular complex. Architects: Mariam Kamara and Yasaman Esmaili for atelier masom Š James Wang



Mariam Kamara’s work is guided by the belief that architects have a responsibility to invent spaces “THE ARCHITECTURE FIELD with the power to elevate, dignify and improve the IS MALE-DOMINATED … QUITE quality of life of its inhabitants. UNBALANCED WHEN, REALLY, I felt an affinity with Mariam’s outlook and ARCHITECTURE SHOULD TO aspirations. In our industry there are few who can BE BUILT BY A VARIETY OF create and succeed in forming their own studio from PRACTITIONERS IN ORDER the outset. Mariam’s desire to implement the work TO BROADEN THE SCOPE that she is inspired to do is clear. It’s a brave OF SOLUTIONS.” determination to start as you mean to go on, in this – MARIAM KAMARA case Mariam wanted to be able to work to an agenda and set of principles that were her own and won’t be compro­mised. It’s admirable, and to be a part of the growth of something so individual and personal is “WHY HAVE WE PUT SO incredibly rewarding. Her work is both compelling and MUCH EFFORT IN MAKING engaging, her endeavours are worth supporting. EVERYTHING LOOK THE SAME In 2014, Kamara founded her practice, atelier AND UNIVERSAL, WHEN masomi, to work on a wide variety of public, cultural, OUR CULTURES, LANGUAGES, residential, commercial and urban design projects. CLIMATES AND GEOGRAPHIES She believes that design is as crucial to humanity as VARY SO WIDELY? ARCHI­ traditional staples such as politics and economic TECTURE IS FUNDAMEN­TALLY development. In Mariam’s own words: MADE UP OF THESE THINGS, SO LOOKING FOR UNIVERSAL “For me, vernacular architecture is about PRINCIPLES IS NOT understanding our traditional techniques and NECESSARILY THE RIGHT rebooting it so that we can make new things. It DIRECTION FOR MOVING becomes our responsibility to put real examples FORWARD, PARTICULARLY out there. We have to understand and respect WHEN THAT UNIVERSAL where people are coming from and why they aspire SOLUTION MANIFESTS THE to the things they aspire to.” REALITIES AND CULTURE OF


“Being an architect in Africa means taking on a big responsibility by contributing to the way our built – MARIAM KAMARA environment is shaped. It puts us in a position to help define our local identities for ourselves, not ITS CLIMATE AND GEOGRAPHIES.”


because we are trying to prove our ‘modernity’ by copying what is done elsewhere. We can create our own modernity and shape our own image.” Mariam believes that African architects should stop OF THE MOST POWERFUL trying to copy what already exists in the West but CONDUITS OF CULTURE AND look to their own history and heritage to produce SELF-REPRESEN­TATION. MANY architecture that is reflective of the region in AFRICAN CAPITALS WERE which the buildings exist. It is very important for BUILT DURING THE EUROPEAN her as an architect working with vernacular archi­ COLONISATION AND THERE­ tecture to put real, tangible examples for the FORE, ARE BASED ON SOMEBODY public to see so it makes it easier to make a case ELSE’S CONCEPTION OF WHAT for why these type of buildings are important. A CITY IS LIKE, OF WHAT A She believes that being an architect in Africa is HOME SHOULD LOOK LIKE AND an incredible opportunity to redefine modernity HOW IT SHOULD FUNCTION. based on local identity and everyday life. GIVEN SUCH CONTEXTS AND My experiences with Mariam and our shared passion NARRATIVES, WE OFTEN to rethink contemporary architecture on the African TACKLE MULTIPLE PROBLEMS, continent, means we are always looking for ways to RECONCILE DISCONNECTS help shape the future in areas that often lack in WHERE NECESSARY, AND both skills and confidence. CREATE SYSTEMS THROUGH Her practice makes a point to regularly collabo­ WHICH DESIGN DECISIONS rate with local teams of engineers, masons and ALSO PROVIDE SOLUTIONS other craftsmen to produce simple projects that FOR DEEPER UNDERLYING respond to the needs they identify on the ground, PROBLEMS.” harnessing both local materials and skills. – MARIAM KAMARA It is an exciting and challenging time, I see Mariam’s work and influence as an integral part of Africa’s architectural future, its ownership and its success. “ARCHITECTURE IS ONE


HIKMA, a religious and secular complex. Architects: Mariam Kamara and Yasaman Esmaili for atelier masom Š James Wang

Bill Kouélany © Francis Kodia



BILL KOUÉLANY – REPUBLIC OF THE CONGO / CONGO-BRAZZAVILLE – VISUAL ARTS Bill Kouélany (Brazzaville, 1965) is a visual artist, writer, stage designer and a leading figure in the arts in Congo-Brazzaville. She is a synthetic thinker of a high order, bringing painting, collage, performance, spoken and written word, installation and video together in original and imagi­ native ways. Immensely perceptive and versatile, Kouélany responds to a wide range of issues. Some works, such as her video juxtaposing sex and football, are bold, funny and biting. In others documentation and irony add layers of social and political critique. Kouélany’s work is deeply personal, based on lived experience. It is multi-dimensional and multi-layered, often reflecting on ambiguities and ambivalence. Using materials that highlight fragility and vulnera­ bility, and techniques of tearing, breaking, gluing and stitching, it explores themes such as loss, pain, wounds, gender, loneliness and conflict. Her long-term study of the potential violence in every human being results in intimate and critical explorations of the relationship between self and others. Untitled, an extensive installation exhibited at documenta 12 (2007), examines the consequences of war and violence. A monumental wall of ruin, constructed of torn and tattered handmade papier-mâché bricks and marked with words and images of political conflict and violence, it is held together with glue and expres­ sive stitching. Two inserted videos explore the impact of architecture and violence on identity. Despite Kouélany’s determined position as an artist who rejects any gender or racial labelling, it is important to note that she was the first sub-Saharan woman invited to participate in documenta. In 2012 Kouélany founded Les Ateliers Sahm, a unique local contem­ porary art centre providing space, materials and tools for visual artists, rappers, dancers, writers, photographers, actors, singers, comedians and musicians to work, experiment and exchange ideas. It has a library, a writing and reading club, and is committed to gender equality, opening up possibilities for women including scholar­ships that provide a monthly allowance to purchase art materials. Also in 2012, Kouélany initiated the annual Rencontres Internationales d’Art Contemporain (RIAC), a month of performances, workshops and seminars by international experts on topics such as video art, slam poetry, film and art criticism, and a residency programme for invited African and international artists to work with Congolese artists on specific themes such as ‘Talking body’ (2018) and ‘Reinventing the world…at dawn crossings’ (2019). Ateliers Sahm also runs Bana’Arts, which offers weekly workshops over a period of four months to support vulnerable children, increasing their skills and confidence to integrate socially and develop careers. Every two years Kouélany organises Congolese and neighbouring countries’ participation in the Dakar Biennale’s fringe programme. As a result young artists have been subsequently selected for the main Dak’art exhibition, won international residencies, and been invited to exhibit internationally.



for her complex and expressive artworks that critique contemporary society and politics, exploring difficult and often deeply painful subjects with honesty and integrity; for her resilience, perseverance and indispu­table excellence as an innovator, both as an artist and as a cultural activist in a tough context, turning lack and difficulty into strength and potential; for her generosity and energetic commitment to encouraging and empowering young generations, offering space, teaching and mentoring, and creating possibilities where there are few resources for the arts; for fostering cultural exchange and making significant connections between Congolese practitioners and innovative artistic developments elsewhere in Africa and internationally; for bravely leading the way, dissolving the boundaries between media, disciplines, spaces and people, and spearheading the expansion and diversity of contemporary culture in Congo-Brazzaville. From the 2019 Prince Claus Awards Committee Report


Les Ateliers Sahm, Centre for Contemporary Arts, in Brazzaville © Courtesy of Bill Kouélany

BILL KOUÉLANY – RÉPUBLIQUE DU CONGO / CONGO-BRAZZAVILLE – ARTS PLASTIQUES Bill Kouélany (Brazzaville, 1965) est artiste plasticienne, écrivaine, scénographe et une figure majeure du monde de l’art au CongoBrazzaville. Intellectuelle de haut niveau, elle combine de manière origi-nale et innovante la peinture, le collage, la performance, le mot écrit et parlé, l’installation et la vidéo. Immensément lucide et polyvalente, Kouélany s’intéresse à un vaste éventail de sujets. Certaines œuvres sont terriblement hardies, drôles et cinglantes comme la vidéo dans laquelle elle juxtapose le sexe et le foot. Dans d’autres œuvres, des écrits et une certaine ironie font apparaître une critique politique et sociale à plusieurs niveaux. Le travail de Kouélany est extrêmement personnel et se fonde sur des expériences vécues. Mul-tidimensionnel et à plusieurs niveaux, il reflète souvent l’ambiguïté et l’ambivalence. Kouélany ex-plore des thèmes tels que la perte, la douleur, les blessures, l’égalité des sexes, la solitude et les con-flits, utilisant des matériaux et une technique de déchirures, de cassures, d’encollage et de couture qui font ressortir la fragilité et la vulnérabilité de l’existence. L’étude à long terme qu’elle a mené sur la violence potentielle présente chez tous les êtres humains a abouti à des explorations intimes et critiques de la relation entre soi et les autres. Sans Titre, une vaste installation présentée à la Documenta 12 (2007) explore les consé­ quences de la guerre et de la violence : un mur monumental fait de briques en papier-mâché déchiré et de lambeaux, et orné de mots et d’images sur la violence et les conflits politiques. Tout cela tient par la colle et des coutures d’une grande expressivité. Deux vidéos insérées dans ce mur montrent l’impact de l’architecture et de la violence sur l’identité. En dépit du fait que Kouélany refuse formelle­ ment tout label de genre ou de race dans sa pratique artistique, on ne peut passer sous silence qu’elle a été la première femme de la région subsaharienne à être invitée à participer à la Documenta. En 2012, Kouélany fonde Les Ateliers Sahm, un centre d’art contemporain local, unique en son genre qui offre un lieu, du matériel et des outils aux plasticiens, rappeurs, danseurs, écrivains, photographes, acteurs, chanteurs comédiens et musiciens pour travailler, expérimenter et échanger des idées. On y trouve une bibliothèque et un club d’écriture et de lecture. Le centre s’est engagé à dé-fendre l’égalité des sexes, ouvrant des opportunités pour les femmes notam­ ment des allocations men-suelles pour l’achat de matériel artistique. En 2012, Kouélany lance aussi La Rencontre Internationale de l’Art Contemporain (RIAC) annuelle : un mois de performances, de workshops et de séminaires animés par des spécialistes internationaux sur des sujets tels que l’art vidéo, la poésie slam, la critique de ci-néma et d’art, ainsi qu’un programme de résidences pour des artistes d’Afrique et du reste du monde invités à travailler avec des artistes congolais sur des thèmes spécifiques tels que « Talking bo-dy » (2018) et « Rein­ venting the world…at dawn crossings » (2019). Les Ateliers Sahm organi­ sent éga-lement Bana’Arts, une série de workshops hebdomadaires sur


une période de quatre mois pour ac-compagner des enfants vulnérables, augmentant ainsi leurs compé­tences et leur confiance en eux, et les aider à développer un parcours professionnel. Tous les deux ans, Kouélany s’occupe de la participation du Congo et des pays voisins au pro-gramme Off de la Biennale de Dakar. Suite à cela, de jeunes artistes sont ensuite sélectionnés pour l’exposition principale de Dak’art, ils obtiennent des résidences à l’étranger et sont invités à exposer dans d’autres pays. LE PRIX PRINCE CLAUS EST DÉCERNÉ À BILL KOUÉLANY:

pour ses œuvres complexes et expressives qui criti­ quent la société et les politiques contempo-raines, explorant avec honnêteté et intégrité des sujets difficiles et souvent extrêmement doulou-reux ; pour sa ténacité, sa persévérance et l’incontes­ table qualité de son travail novateur, à la fois en tant qu’artiste et dans le domaine de l’action culturelle, ceci dans un contexte dur, transformant le manque et les difficultés en potentiel et en force ; pour sa générosité et son engagement dynamique pour les jeunes, les encourageant, les aidant à se prendre en charge, leur offrant des lieux, des for­ mations, un accompagnement, et créant des opportunités là où les moyens pour l’art sont limités ; pour sa façon de favoriser les échanges culturels et la création de liens et d’échanges entre les professionnels du monde culturel au Congo, pour avoir développé l’art de manière innovante en Afrique et partout dans le monde ; pour la voie qu’elle a ouverte courageusement, faisant disparaitre les frontières entre les diffé­ rents médias, les disciplines, les espaces et les gens, et en faisant œuvre de pionnière dans l’expansion et la mise en place de la diversité de la culture contemporaine au Congo-Brazzaville.


Untitled, 2008, 150 × 200 cm, acrylic, thread and collage on canvas © Courtesy of Bill Kouélany


Bill Kouélany is a self-taught, multi-form creator. As a teenager who was out of step with the world around “A WORK OF ART MUST her, she found stability in literature. Her bench­ CHALLENGE, QUESTION. marks were the texts and biographies of Françoise NOTHING CAN BE Dolto (France), Marguerite Duras (France), Maya ESSENTIALLY TABOO. WHAT Angelou (USA), Ken Bugul (Senegal) and Were Were MATTERS IS THE WAY THINGS Liking (Cameroon). However, more than anything it ARE SAID.” – BILL KOUÉLANY was the work of Tchicaya U Tam’si, considered to be the most talented African poet of his genera­tion, that triggered her and served as her compass. This famous Congolese author, who used his writing skills to support Patrice Lumumba in the 1960s, became her infinite source of inspiration. Bill decided not to attend higher education and devoted herself to writing and to a life immersed in a world of words. In search of meaning she struggled to find her place in society, and in U Tam’si, who she described as being a tortured soul, she found a resonance with her own “MORE THAN BRINGING questions. This person, who wanted to become a film ARTISTS TOGETHER, ABOVE director and who would be introduced to painting ALL I BRING HUMANS during a workshop at the French cultural centre in TOGETHER. AFTER ALL, BEFORE Brazzaville, eventually found her way and a kind of BEING AN ARTIST, WE ARE solace. The visual arts became the vehicle through FIRST AND FOREMOST HUMANS. which she could pay tribute to the great poet, while ART BREACHES PHYSICAL OR conveying his view of the world through torn and SPIRITUAL FRONTIERS AND then restitched canvases, punctuated by words. ENCOURAGES ENCOUNTERS Her initial works baffled the Congolese people who AND EXCHANGES. BY MEETING were used to the colourful and figurative style of THROUGH ART, MEN AND WOMEN the painters of the Poto-Poto school. Her abstract OF ALL COLOURS SPEAK TO and conceptual work was at odds with this naive EACH OTHER AND QUESTION style, which emerged in the Republic of Congo in the THEIR RESPECTIVE 1950s. Spotted by Didier Schaub, artistic director SOCIETIES.” – BILL KOUÉLANY of the Doual’art centre in Cameroon, Bill began travelling to Central Africa and participated in the Dakar Biennale of Contemporary African Art (2002 88

and 2006) and the documenta exhibition in Kassel (2007). These encounters with dynamic and engaged artistic scenes made her aware of her country’s isolation. The fraternal friendship she forged with “FROM DEEP WITHIN ME I CAN Cameroonian artist Goddy Leye, founder of the Art ONLY BE TRUTHFUL ABOUT Bakery art centre in Bonandale, led her to question MYSELF: I AM MADE OF PAIN, her place in society and the role she could and OF TEARING, OF BROKENNESS, should play. OF LOSS OF SOMEONE VERY In 2012 she founded the Ateliers Sahm arts DEAR TO ME, OF LOSS OF MY centre in Brazzaville. As a youth centre, a place of FLESH … I DEFINE MYSELF AS training and experimentation, a refuge for adoles­ A BROKEN HOUSE, BUT A VERY cents who have broken away from their families, the BEAUTIFUL BROKEN HOUSE. Ateliers Sahm has, over the years, undergone a shift AND ONCE THE BROKENNESS to offering local young people a home for artistic BECOMES BEAUTIFUL, THE creation and unique intellectual production. As a PAIN IS NO LONGER PAIN – space of stability and freedom which is open to IT IS SUBLIMATED.” everyone, this centre has put collaboration, solida­ – BILL KOUÉLANY rity and being human at the heart of its activities. Through visual arts, creative writing, theatre, cinema, dance, music and debates on ideas, the Ateliers Sahm is focusing on transferring knowledge and has enabled the development of a new generation of multi-form creators. The regular participation of young artists in the ‘OFF’ of the Dakar Biennale of Contemporary African Art and the establishment of the annual multi-disciplinary RIAC festival in Brazza­ “ART STIMULATES RENEWAL. ville have turned the Ateliers Sahm into an essential YOUNG ARTISTS ARE part of the African continent’s creative scene. DREAMERS WHO WANT TO Bill Kouélany, a teenager who was once unable to REMAKE THE WORLD. THEIR find her place in society, has transformed herself AIM IS TO CREATE NEW AND into a leader whose generosity and dedication are BETTER SOCIETIES … IT IS having a significant impact on the artistic and social A BEAUTIFUL CHALLENGE ecosystem of the Republic of Congo. TO TAKE UP.”



Triptych, 2007, 100 × 179 cm, acrylic, papier-maché and thread on canvas © Courtesy of Bill Kouélany

Djamila Ribeiro Š Luis Crispino/Claudia Magazine



DJAMILA RIBEIRO – BRAZIL – PHILOSOPHY Djamila Ribeiro (Santos, 1980) is a public intellectual, activist, writer and philosopher, and a crucial voice for social inclusion and justice. She is one of the most popular and influential leaders in the AfroBrazilian women’s rights movement. For her Master’s in Political Philosophy (Federal University of São Paulo, 2015), she wrote her thesis on Judith Butler, Simone de Beauvoir and black feminism. In 2016 she was appointed Deputy-Secretary for Human Rights and Citizenship Affairs in São Paulo’s municipal government. Ribeiro is a prolific essayist and was one of 51 authors from 25 countries invited to contribute to The Freedom Papers (2018). She is the author of two influential books: Lugar de fala? (‘Place of speech?’, 2017), which addresses the need to break institutionalised silences and give space to a multiplicity of voices, and Quem tem medo do feminismo negro? (‘Who is afraid of black feminism?’, 2018), a collection of articles on topics such as social mobilisation, racial quota policies, and the origins of black feminism in Brazil and America. The latter includes an autobiographical essay that describes Ribeiro’s sense, as a child, of a force preventing her from speaking or “existing fully” in some spaces. Committed to sharing the thinking of others, among numerous actions, Ribeiro wrote the preface for the Brazilian publication (2015) of Angela Davis’s Women, Race and Class, and co-edited the writings of philosopher Sueli Carneiro. Ribeiro is head of Sueli Carneiro’s Seal, an editorial initiative and of the Feminismos Plurais (Plural Feminisms) collection, which promotes young black authors’ perspectives. She has worked as technical and script advisor for documentaries such as It Looks Like Me (2016), exploring the absence of black dolls in Brazil; presented a television show on politics, art, ethnic and gender issues; participated in films including Enough with Catcalling (2018), on the insecurity and harassment that marks women’s participation in urban spaces; and played a leading role in successful campaigns against unacceptable racist and sexist practices, such as the removal of the Sexo e as Nega (‘Sex and the Black Girls’) TV show. Formerly an online contributor to CartaCapital and Black Bloggers, Ribeiro is currently a columnist with Folha de S. Paulo journal and Marie Claire magazine. She has a huge following on social media and actively circulates feminist ideas and literature in schools, families and local communities. Along with frequent public appearances and interviews she participates in local and international events including at Harvard, MIT and Oxford University. Her intervention at the London School of Economics in 2017, questioning Sérgio Moro on the Petrobras corruption investigation, went viral.



for her profound intellectual and conceptual work on systems of oppression, their methodologies and consequences, and providing strong, logical opposi­ tion to the dominant racist and sexist paradigm in Brazil; for providing a broad debate on black feminism, combating the erasure of knowledge produced by black women, and disseminating black feminist thought in Brazil and internationally, contributing significantly to the visibility, self-esteem and empowerment of black women; for her incisive reflections on democracy and social participation, emphasising individual responsibility for the collective dimension, and that feminism is a fight for human rights and a just society; for articulating heavily politicised subjects with calm lucidity, making them accessible and enabling dialogue and critical debate not only in academic and activist circles but also on social media; for her generous leadership in connecting her personal experiences to the lives of others, and her energetic activism, producing materials and tools, reaching out, responding and becoming an inspiration for millions of people; and for consistently breaking the silence and opening paths for communication and integration. From the 2019 Prince Claus Awards Committee Report


All photos © Courtesy of Djamila Ribeiro

DJAMILA RIBEIRO – BRASIL – FILOSOFIA Djamila Ribeiro (Santos, 1980) é uma intelectual, ativista, escritora e filósofa, e uma voz crucial para a inclusão social e a justiça. Ela é uma das líderes mais populares e influentes no movimento de direitos das mulheres afro-brasileiras. Para seu mestrado em Filosofia Política (Universidade Federal de São Paulo, 2015), ela escreveu sua tese sobre Judith Butler, Simone de Beauvoir e feminismo negro. Em 2016, foi nomeada vice-secretária de Direitos Humanos e Cidadania na Prefeitura de São Paulo. Ribeiro é uma ensaísta prolífica e foi uma dentre 51 autores de 25 países convidados a contribuir para os Documentos da Liberdade (2018). Ela é autora de dois livros influentes: Lugar de Fala? (2017), que aborda a necessidade de romper silêncios institucionalizados e dar espaço a uma multiplicidade de vozes, e Quem Tem Medo do Feminismo Negro? (2018), uma coleção de artigos sobre tópicos como mobilização social, políticas de cotas raciais e as origens do feminismo negro no Brasil e na América. O último inclui um ensaio autobiográfico que descreve o sentimento de Ribeiro, enquanto criança, de uma força que a impedia de falar ou “existir plenamente” em alguns espaços. Comprometida em compartilhar o pensamento de outras pessoas, entre inúmeras ações, Ribeiro escreveu o prefácio da publicação brasileira (2015) de Mulheres, Raça e Classe de Angela Davis e coeditou os escritos da filósofa Sueli Carneiro. Ribeiro é chefe do selo Sueli Carneiro, uma iniciativa editorial, e da coleção Feminismos Plurais, que promove as perspectivas dos jovens autores negros. Ela trabalhou como consultora técnica e de roteiro de documentários como It Looks Like Me (2016), explorando a ausência de bonecas negras no Brasil; apresentou um programa de televisão sobre política, arte, questões étnicas e de gênero; participou de filmes, incluindo Enough with Catcalling (2018), sobre a insegurança e assédio que marcam a participação das mulheres nos espaços urbanos; e desempenhou um papel de liderança em campanhas bem-sucedidas contra práticas racistas e sexistas inaceitáveis, como a remoção do programa de TV Sexo e as Nega. Ex-colaboradora online da Carta Capital e Black Bloggers, atualmente é colunista do jornal Folha de S. Paulo e da revista Marie Claire. Ela tem um grande número de seguidores nas mídias sociais e circula ativamente com ideias feministas e literatura em escolas, famílias e comunidades locais. Juntamente com aparições públicas frequentes e entrevistas, ela participa de eventos locais e internaci­ onais, incluindo em Harvard, no MIT e em Oxford. Sua intervenção na London School of Economics em 2017, questionando Sérgio Moro a respeito da investigação de corrupção da Petrobras, tornou-se viral.



por seu profundo trabalho intelectual e conceitual sobre sistemas de opressão, suas metodologias e consequências, e fornecendo forte oposição lógica ao paradigma racista e sexista dominante no Brasil; por promover um amplo debate sobre o feminismo negro, combater o desaparecimento do conheci­ mento produzido pelas mulheres negras e disseminar o pensamento feminista negro no Brasil e no exterior, contribuindo significativamente para a visibilidade, autoestima e empoderamento das mulheres negras; por suas reflexões incisivas sobre democracia e participação social, enfatizando a responsabilidade individual pela dimensão coletiva, e que o feminismo é uma luta pelos direitos humanos e uma sociedade justa; por articular assuntos fortemente politizados com calma e lucidez, tornando-os acessíveis e possibilitando o diálogo e o debate crítico, não apenas nos círculos acadêmicos e ativistas, mas também nas mídias sociais; por sua liderança generosa em conectar suas experiências pessoais à vida de outras pessoas e seu ativismo energético, produzindo materiais e ferramentas, alcançando, respondendo e se tornando uma inspiração para milhões de pessoas; e por quebrar consistentemente o silêncio e abrir caminhos para a comunicação e a integração.


All photos © Courtesy of Djamila Ribeiro



The past years have made two facets about human comprehension visible: an increasingly binary under­ standing of the world, on the one hand, and the “SINCE RACIAL AND GENDER co-existence of multiple truths, on the other; DISCRIMINATION ARE simultaneous simplicity and complexity, so to speak. STRUCTURAL OPPRESSIONS, While arguments often have been reduced to THEY HAVE A PROFOUND affirmations, receiving either support or disap­ IMPACT THROUGHOUT proval, thanks to contemporary thinkers like Djamila SOCIETY BECAUSE RACISM Ribeiro, our grammar for reflecting on concepts of AND SEXISM INTERSECT history, ethics, privilege, power and ancestry has ALL SOCIAL INTER­ACTIONS, been fundamentally enriched. FROM THE POPULATION'S Honouring Djamila Ribeiro with the 2019 Prince Claus IMAGINARY SYMBOLIC Award is recognition of her extra-ordinary contri­ VIOLENCE TO THE CON­ bution to language and critical thinking. The philo­ STRUCTION AND MAINTENANCE sopher and writer, one of the most active voices in OF INEQUALITIES. BRAZIL the feminist movement in Brazil and in the contem­ CANNOT BE CONSIDERED A porary debate about ethnicity and gender worldwide, WHOLE NATION, AS THESE stands out for her thorough analysis of structural OPPRESSIONS DIVIDE IT racism. Her main works are “O que é lugar de fala?” CONSTANTLY, RANKING BLACK [What is the place of speech?] (2017) and “Quem tem AND FEMININE BRAZIL medo do feminismo negro?” [Who is afraid of black BENEATH THE RIGHT feminism?] (2018). Both books are highly influential in TO HUMANITY.” the current political-theoretical scenario, but not – DJAMILA RIBEIRO only in the academic sphere. On the contrary, Ribeiro has invested an enormous energy in circulating femi­nist ideas and literature in schools, local communities and within families. Ribeiro makes a sharp distinction between her understanding of “the place of speech” and the individual experience or biographical context. Incorporating a feminist standpoint, Ribeiro’s use of “the place of speech” points to the fact that the social standing of Afro-Brazilians comes along with racial discrimination, systematic oppression and limited opportunities. She defends the concept that everyone has a place of speech, and that recognising one’s own is an ethical obligation, resulting in a process that eventually leads to recognising and questioning existing hierarchies and inequalities. 102

The lasting impact of Djamila Ribeiro’s theoretical and activist work within Brazilian society is yet to be seen, but without exaggeration one can affirm that the dissemination of her thinking and that of her peers has laid the grounds for true change. In a country like Brazil, with more than half of its population of African descent, and with a historically racist distribution of education, wealth and power, Ribeiro’s introduction to concepts of “the place of speech” and of “Black Feminism” delivers the tools to interrogate and potentially break the structures that have granted the privilege of speech, of norm and of universality to some and not to others. Ribeiro is well aware that her thinking and her “IT IS NOT SUSTAINABLE FOR activism have roots in decades of the hard work of ONE GROUP TO DOMINATE THE social and feminist movements, in Brazil and abroad, PRO­DUCTION OF KNOWLEDGE, whose writings for a long time have mostly circulated LIFE, AND EXISTENCE… WHEN via online platforms. Her great contribution is taking ONLY ONE VIEW OF THE WORLD this discussion and bringing it to the forefront IS ALLOWED TO PERMEATE of public attention. In her writing, lectures and SOCIETY, ALL BECOME editorial work, Djamila Ribeiro puts emphasis on giving IMPOVERISHED. A MORE voice to women philosophers and thinkers, setting a DIVERSE ENVIRON­MENT theoretical basis of a contemporary Black Feminism. NATURALLY GIVES WAY TO Soujourner Truth, Simone de Beauvoir, Angela Davis, INCREASED SCRUTINY, WHICH Patricia Hill Collins, Lélia Gonzalez, Giovana Xavier, IN TURN LEADS TO THE Sueli Carneiro, Audre Lorde, Luiza Bairros, Linda Alcoff, PRODUCTION OF INNO­VATION Gayatri Spivak, Jota Mombaça and Grada Kilomba are AND CREATIVITY. ONE OF THE some of the authors whom Ribeiro generously GOALS OF MY WORK IS TO introduces in a didactic way. BREAK WITH A SILENCING As the director of the Pinacoteca de São Paulo, a UNIVERSAL VISION THAT privileged position that has not been held by a woman DOES NOT CONTEMPLATE in 27 years and not by an Afro-Brazilian since 2002, OTHER WAYS OF BEING.” I am – as a European male academic – writing these – DJAMILA RIBEIRO lines on Djamila Ribeiro with profound gratitude. Over the past two years, Ribeiro has on several occasions lent her critique, her knowledge, her energy and presence to the museum, provoking reflections on the power structures of the institution, its colonial legacy, and on the history of art it intends to tell and the many histories that have remained invisible to date. 103

Book launch in Belo Horizonte Š Luciano Vianna

Anocha Suwichakornpong Š Courtesy of the Artist



ANOCHA SUWICHAKORNPONG – THAILAND – FILM Anocha Suwichakornpong (Chonburi, 1976) is a filmmaker who addresses the contemporary situation in Thailand in a way that is completely experimental. She consistently challenges ways of looking, thinking and telling, pushing the boundaries of aesthetics, vocabulary and form yet staying true to the issues on the ground. Her talent was clearly revealed in Graceland (2006), an unusual and sensitive dip into modern sexuality that was created for her MFA thesis (Columbia University) and was the first Thai short film selected for Cannes Film Festival. Suwichakornpong was scriptwriter, director and co-producer for Mundane History (2009), her first full-length feature. A meditation on patriarchy and artistic expression and a metaphor for the Thai nation, it is a family drama that probes the existence of a partially paralysed young man. Isolated in his father’s house, the protagonist is suspended between past and future, plagued by anxieties and unresolved conflicts, but cared for by a male nurse and domestic staff. Due to its inclusion of male nudity and masturbation, it was the first Thai film to be given the country’s most restrictive 20+ rating. Her second full-length movie, By the Time it Gets Dark (2016), was inspired by Thongchai Winichakul’s paper titled ‘We Do Not Forget the 6th October: The Commemoration of the October 1976 Massacre in Bangkok’, which was presented at the workshop on ‘Imagining the past, remembering the future’ in Cebu, Philippines in 2001. Questioning memory and history, the movie follows the experiences of a young female film director researching the brutal massacre of student activists at Thamassat University that almost led to civil war in Thailand. Based on recorded footage of incidents and interviews with women and men involved, Suwichakornpong confronts the impossibility of making a historical film when ‘history’ is erased or falsified. The outcome is a shape-shifting and time-switching palimpsest of fictions within stories and characters with multiple identities that move between reality and fantasy. It is complex yet free and fluid with intertwining storylines that unfold, fragment and regenerate in surprising ways. The film resonates with current local politics and is provocative viewing for Thai and international audiences. It has won numerous awards including making Suwichakornpong the first woman to win Best Director (2017) from the Thailand National Film Association. Suwichakornpong is actively involved in stimulating and supporting independent filmmaking in Southeast Asia. Besides making her own work and teaching locally and internationally, her company, Electric Eel Films, co-founded in 2006, produces works by emerging talents and firsttime directors. She is also the co-founder (2017) and artistic director of a rare and much-needed film fund, Purin Pictures, which is committed to promoting under-represented voices and strongly supports the growth of female filmmakers. It funds production and post-production of 8-10 independent films per year, as well as supporting distribution, research, screenings, workshops and events.



for her beautiful, compelling and thought-provoking films, rich with poetic ambiguity and a multiplicity of perspectives; for pioneering a mode of intellectual feminist filmmaking, providing a much-needed model of feminist leadership, and inspiring and promoting a strong female voice in Southeast Asian cinema; for her bold choice of subject matter, refusing to stay silent about unspoken realities and sociopolitical problems, and stimulating a local audience for progressive and engaged cinema in a difficult context; for highlighting cinema’s capacity to question and reimagine life, emphasising the importance of examining and coming to terms with past events that have been forgotten or suppressed, in order to improve the present and move towards a better future; for creating possibilities for others, teaching and mentoring younger generations, and establishing infrastructure, programmes and practical means to support independent filmmakers; and for courageously and convincingly challenging hegemonic practices and established conventions, both in filmmaking and in society, thereby contributing significantly to artistic and social liberation in Thailand. From the 2019 Prince Claus Awards Committee Report


Film still from By the Time It Gets Dark, 2016 Š Courtesy of Anocha Suwichakornpong

112 2

113 3

TOP Film still from Lublae, 2013 dir. Anocha Suwichakornpong © Courtesy of Anocha Suwichakornpong

Film still from Mundane History, 2010 © Courtesy of Anocha Suwichakornpong

TOP Film still from Mundane History, 2010 © Courtesy of Anocha Suwichakornpong

Film still from By the Time It Gets Dark, 2016 © Courtesy of Anocha Suwichakornpong


A newspaper article in Thailand reporting Anocha Suwichakornpong’s recognition by the Prince Claus “HUMAN SOCIETY IS THE Awards gives an idea of the enormity of the task she FOUNDATION OF CINEMA. is undertaking in her homeland. The headline says that A FILM IS A PRODUCT THAT she is the second Thai to have won this presti­gious IS BORN OUT OF ITS award. There is no mention of the most impor­tant ENVIRONMENT JUST AS THE reasons why she is being honoured here, this year, FILMMAKER IS A PRODUCT alongside five extraordinary women. Lost in transla­ OF THEIR ENVIRONMENT. tion, it seems, is the rationale for recognising her work: CONVERSELY, CINEMA CAN a courageous feminist experimental filmmaker, a femi­nist HELP INFORM SOCIETIES. intellectual and artist, and a female cultural leader. WHILE CINEMA CAN ACT How richly she deserves this recognition, and for AS A REFLECTION OF A those very reasons that remain illegible in her SOCIETY, IT CAN ALSO HINT country of birth. AT THE ALTERNA­TIVES TO THAT Anocha always says in her artistic biography that SOCIETY. CINEMA CAN MAKE she was born in 1976, shadowing her time on earth US IMAGINE THE OTHER with the year of the massacre of communists and POSSIBILITIES.” leftists in the Thai capital and with the defeat of – ANOCHA SUWICHAKORNPONG the Thai left. With that gesture she stakes out a possibility, and a hard path to keep making: a femi­ nist Thai independent filmmaker carrying the burden of an aborted promise of egalitarian social relations and freedom from an ordained fate. The ground she conjures into being through her filmmaking is a nascent one which promises to grow with the humility and expansiveness of the favoured life forms in her films: the lowly yet untameable sparrows in the Thai title of her first feature film, Mundane History/ เจ้านกกระจอก (2009), and the fungi of her second feature film, By the Time It Gets Dark/ดาวคะนอง (2016). A subtle portrait of living in the shadow of the Thai left’s defeat, her second film takes the expressive form of mise-en-abîme whereby multiple personifications of a female filmmaker make images referring to photographs of the massacre of 1976 while staring into the abyss of not knowing. Anocha’s practice is consistently rigorous in its engagement with large questions of the ethics of 116

historical representation, and the capacity of aesthetics and cinema to question and reimagine life in a society such as present-day Thailand, which is governed by forces of death and marked by the “GROWING UP, I LEARNT immense difficulty of imagining a liberating future TO DISTRUST ‘OFFICIAL’ and the ground for collective life. Her artistic HISTORY, AS MUCH OF IT HAS interest in the essayistic audio-visual form and BEEN DISTORTED TO SERVE the possibility of approaching film as a living body, THE INTEREST OF THOSE IN rather than as a represen­tational machine, contri­ POWER. MEMORY BECOMES A butes a new proposition for cinematic and artistic FORM OF RESISTANCE experimentation engaging with histories in and of AGAINST THE DOMINANT Southeast Asia. DISCOURSES. TO SPEAK OF As significant as her filmmaking is the fact that MEMORY, OR TO HEAR MEMORY Anocha is the discreet presence behind the scene SPEAK, IS TO BEAR WITNESS nurturing many emerging independent filmmakers TO AN EXISTENCE. AND ONCE and artists, whether through teaching at several YOU BECOME SOMEONE’S university institutions in Thailand and beyond, oneWITNESS, YOU HAVE NO to-one formal and informal mentoring, or as the CHOICE BUT TO SPEAK producer of promising film projects whose unconven­ ABOUT THEIR EXISTENCE.” tionality and experimental energy may not otherwise – ANOCHA SUWICHAKORNPONG have found their routes to fruition. She is playing an essential role in establishing a more visible and systematic infra­structure of support for emerging female independent filmmakers in Southeast Asia. Equally important here are the skill, experience and network that Anocha brings to produce first and second works by emerging female film­makers, and her capacity to be a much-needed model of feminist leadership among film and art practitioners in Southeast Asia. The closing scene of Mundane History comprises footage shot inside an operating theatre. An incision is made along the length of a mother’s stomach. The doctors’ hands reach inside and gently ease out a creature. Its crown emerges, then its body appears. “FANTASY IS THE REALITY Once fully out of the mother’s womb and the umbilical THAT HAS NOT YET ARRIVED. cord cut, it kicks and howls with primal force. Gasping, FILM CAN MAKE US EXAMINE struggling, taking gulps of air, another life enters OUR PAST AS WELL AS the world. It is symbolically significant in this case ENVISION OUR FUTURE.” to name that moving, screaming mass of life, a baby girl. – ANOCHA SUWICHAKORNPONG


Film still from Mundane History, 2010 Š Courtesy of Anocha Suwichakornpong


POLICY AND PROCEDURES THE PRINCE CLAUS NEXT GENERATION AWARD The Next Generation Award is presented to an individual under the age of 35 for outstanding achievements and contributions in the field of culture and development. It honours an individual who is a role model for younger generations and whose cultural actions have a positive impact particularly on young people in their society. In keeping with the Prince Claus Fund’s guiding principles, the award highlights significant contributions in regions where resources or opportunities for cultural expression, creative production and preservation of cultural heritage are limited. PROCEDURES The Fund invites cultural experts from its global network to nominate candidates for the Next Generation Award. Research is carried out by the Fund’s Bureau and second opinions are sourced for all nominations. The Prince Claus Awards Committee meets twice a year to consider the information about the nominated candidates and presents its recommendations to the Board of the Prince Claus Fund. The Next Generation Award is presented to the Laureate during the ceremony for the Prince Claus Awards in December at the Royal Palace in Amsterdam in the presence of members of the Royal Family and an international audience. The Next Generation Award is also presented to the recipient at a ceremony in their respective country by the Dutch Ambassador.


POLICY AND CRITERIA The Prince Claus Fund maintains a broad view of culture open to all artistic and intellectual disciplines. The Prince Claus Next Generation Award is presented to artists and intellectuals in recognition of both the excellent quality of their work and their significant impact on the development of young people in their society. It recognises creative work that engages young people in the building of more inclusive, open-minded societies. It honours cultural endeavours that enable youth to explore issues related to gender, diversity and inclusion, and that allow young people to create alternative narratives and see their world in new and different ways. The Next Generation Award is given to individuals based mainly in Africa, Asia, Latin America and the Caribbean. Outstanding quality is a sine qua non for the Next Generation Award. The quality of a laureate’s work is assessed in professional and personal contexts and for its positive influence on cultural and social fields. The Next Generation Award recognises artistic and intellectual qualities, experimentation and innovation, audacity and tenacity. It seeks to foster inspirational leadership and to enhance the positive impact of cultural expression on societies.

The complete Report of 2019 Prince Claus Next Generation Award is available in Spanish, French, Dutch and English on the Fund’s website: www.princeclausfund.org.


Mónica Ojeda Franco © Sergio Cadierno



2019 NEXT GENERATION AWARD MÓNICA OJEDA FRANCO – ECUADOR – LITERATURE Mónica Ojeda Franco (Guayaquil, 1988) is a novelist and poet, whose writings make us confront hidden and perplexing parts of our lives, our sexuality, our complicated mind landscape, not just from a young person’s point of view but from a feminist, political, social and psychological point of view. Her intention is to look unflinchingly and to say what cannot be said about taboo subjects, confronting the abominable, the abject and the obscene in contemporary society. Ojeda has a degree in Social Communication with a minor in Literature (Catholic University of Santiago de Guayaquil, Ecuador) and two Master’s degrees (Pompeu Fabra University, Barcelona), one in Literary Creation, the other in Theory and Criticism of Culture. Acclaimed one of the best contemporary Latin American writers today, Ojeda is the author of a poetry collection El ciclo de las piedras (‘The cycle of stones’, 2015), a book of short stories Caninos (‘Canines’, 2017) and three novels. Influenced by writers such as de Sade and Bataille, she works within the horror genre, commenting on it and transcending it. Her treatment of mundane themes, such as family and school life, scare and shock us. The novels are marked by complex and gripping narratives, strong characterisation, swift tempo, humour, and a language that is simultaneously dense and lucid, intellectual and accessible. Ojeda’s first novel, La desfiguración Silva (‘The Silva disfigurement’, 2014) is an unsettling story concerning interchanges between a young artist and his fictional namesake from an older generation. It examines conflicting dualities between literature and cinema, history and story, theft and appropriation, art and crime. Nefando (‘Abominable/odious’, 2016) is a tense drama centred on interviews with six young people investigating why they included horrifying paedophile images in a video game they created for the deep web. It explores memories of childhood abuse, fear, the body as a battlefield and the limits of morality, as well as art as a means of expression. With multiple narrators and superb command of language, it offers philosophical reflection on language as a weapon to understand and confront the world. Mandíbula (‘Jaw’, 2018) is a complex psychological thriller set in a women’s college, an intense poetic exploration of fear, power, pain, perversity and sexual desire. It delves into victimhood, unspeakable secrets, cravings and damage in relationships between mothers and daughters, sisters, best friends, teachers and pupils. The fragmented structure features diverse registers and voices, and the richly textured prose is laced with scripts, parenthesis, counterpoints and a multitude of references to everything from classic literature and psychoanalysis to horror movies and the collective online terror stories known as creepypastas.



for her strong and innovative voice that expresses powerful truths about the troubling environment and experiences of the younger generations; for devising a new vocabulary and style to imaginatively convey explicit thoughts in a dynamic and persuasive but calm and non-judgemental way that creates space to think; for her unflinching exploration of the underbelly of human existence and perceptively engaging with unacknowledged or denied aspects of human sexuality and psychology; for examining fear, pain, vulnerability and perversity within trusted relationships and power structures, and showing how lives are damaged by such traumatic experiences; for her inventive reimagining of the novel, refashioning genres and integrating today’s media and digital phenomena to articulate the evolving forms and languages of the next generation; for redefining writing as a dangerous exercise that uses intense language to produce and reveal experience, expressing seemingly inexpressible truths and restoring intimacy with instinct, the incomprehensible and terror; and for boldly mapping out her own aesthetic and intellectual path, and inspiring next-generation writers to fearlessly reshape the literary world. From the 2019 Prince Claus Awards Committee Report for the Next Generation Award


Book cover of Nefando (‘Abominable/odious’), 2016 © Courtesy of Mónica Ojeda Franco

Book cover of the Cuban publication of La desfiguración Silva (‘The Silva disfigurement’), Latin American novel prize 2014 © Courtesy of Mónica Ojeda Franco

MÓNICA OJEDA FRANCO – ECUADOR – LITERATURA Mónica Ojeda Franco (Guayaquil, 1988), es una novelista y poeta, en cuya obra nos confronta con partes ocultas y desconcertantes de nuestras vidas, nuestra sexualidad y nuestro intrincado paisaje mental, no solo a través del punto de vista de una persona joven, sino también desde la perspectiva feminista, política, social y psicológica. Su intención es observar con dureza, contando lo que no se puede decir sobre temas tabúes, enfrentando lo abominable, lo abyecto y lo obsceno de la sociedad contemporánea. Ojeda es licenciada en Comunicación Social con mención en Litera­ tura (por la Universidad Católica de Santiago de Guayaquil, Ecuador), y tiene dos titulaciones de Máster (por la Universidad Pompeu Fabra, Barcelona), uno en Creación Literaria y el otro en Teoría y Crítica de la Cultura. Aclamada como una de las mejores escritoras latinoamericanas actuales, Ojeda es autora de un libro de poemas, El ciclo de las piedras (2015), de un libro de cuentos, Caninos (2017), y de tres novelas. Con influencias de escritores como de Sade y Bataille, Ojeda trabaja con el género de terror, comentando sobre el mismo y trascendiéndolo. El tratamiento que lleva a cabo sobre temas mundanos tales como la familia o la vida escolar nos asusta y deja impactados. Sus novelas se caracterizan por su compleja y apasionante narrativa, por una fuerte caracterización, por su ritmo ágil, su humor, y por un lenguaje que es a la vez denso y lúcido, intelectual y accesible. Su primera novela, La desfiguración Silva (2014) es una narración perturbadora que trata sobre los intercambios entre un joven artista con su homólogo fictivo de una generación anterior. En ella examina las dualidades en conflicto que se producen entre la literatura y el cine, la Historia y la historia, el robo y la apropiación, y entre el arte y el crimen. Nefando (2016) es un drama tenso que se centra en entrevistas con seis jóvenes, en las cuales se quiere descubrir por qué incluyeron imágenes espeluznantes de pedofilia en un videojuego creado por ellos para la deep web. En Nefando se exploran las memorias del abuso infantil, el miedo, el cuerpo como campo de batalla, los límites de la moral, así como el arte como medio de expresión. La novela, que contiene diver­ sos narradores y un extraordinario dominio del lenguaje, efectúa también una reflexión filosófica sobre el lenguaje como arma para poder comprender y enfrentarse al mundo. Mandíbula (2018) es un complejo thriller psicológico que transcurre en un colegio para chicas y en donde realiza una intensa exploración poética del miedo, el poder, el dolor, la perversidad y el deseo sexual. La novela es una indagación sobre la victimización, sobre los secretos inconfesables, los deseos, y sobre el daño que se genera en las relaciones entre madre e hija, hermanas, amigos íntimos, y entre profesores y alumnos. Está estructurada de forma fragmentaria, y consta de diferentes voces y registros, y su prosa, de una rica textura, se mezcla con guiones, paréntesis, contrapuntos, y con multitud de referencias que van desde la literatura clásica y el psicoanálisis, a las películas de terror o las historias de terror colectivas online, conocidas como creepypastas.



por su fuerte e innovadora voz la cual expresa poderosas verdades sobre el problemático entorno y las experiencias de las jóvenes generaciones; por concebir un nuevo vocabulario y estilo con el fin de transmitir de forma imaginativa ideas explícitas de una manera dinámica y persuasiva a la vez que tran­quila y sin prejuicios, que genera espacios para pensar;. por su valiente indagación del lado oscuro del ser humano, y por enfrentarse de modo perspicaz con los aspectos ignorados o negados de la sexualidad y la psicología humanas; por explorar el miedo, el dolor, la vulnerabilidad y la perversidad dentro de las relaciones de confianza y las estructuras de poder, mostrando el daño que causan tales experiencias sobre las vidas de las personas; por su creativa reinvención de la novela, cambiando los géneros e integrando los medios actuales y fenó­ menos digitales con el fin de poder articular los lengua­ jes y las formas cambiantes de la nueva generación; por redefinir la escritura como un ejercicio peligroso, el cual utiliza un lenguaje intenso con el fin de producir y revelar las experiencias, de expresar verdades aparentemente inexpresables y poder restablecer la intimidad instintivamente con lo incomprensible y con el terror; y por elaborar de forma atrevida su propio camino estético intelectual inspirando a la nueva generación de escritores a que transformen sin temor el mundo literario.


Book cover of Mandíbula (‘Jaw’) 2018 © Courtesy of Mónica Ojeda Franco

Facing a jawbone (mandíbula) © Guillermo Morán


Borges said that humankind’s best tool for renova­ ting or innovating is tradition. In this sense, Mónica Ojeda’s work is part of the in no way minor tradition “ WE HAVE TO THINK ABOUT of the great Latin American novel. Do we not find WHAT IS HARD AND PAINFUL, in Mandíbula, echoes of the imagination of Vargas WE OWE THAT TO THE Llosa, the baroque style of Cabrera Infante, the VICTIMS, TO OURSELVES. IF unsettled voices of Diamela Eltit and, of course, the WE DON’T LOOK INTO THE ambition of Roberto Bolaño? But, the literary and DARK PLACES AND MAKE AN social penetration of the culture of the USA is more EFFORT TO SEE SOMETHING, apparent than ever in Ojeda’s more recent Latin WE WILL BE IGNORANT ABOUT American tradition. Perhaps because the author THE SUFFERING OF OTHERS, herself grew up in a world that, despite happening AND IGNORANCE IS CRUEL.” to be located in a geography like that of Latin – MÓNICA OJEDA FRANCO America, Ecuador to be precise, owes all or almost all of its expressions to the mass-media culture of the USA and its fables, which are now ours, imported and transfigured. Ojeda’s characters have been raised, and grown up, under those influences, accord­ ing to those moral and economic values. So, their fears and horrors and desires are sifted through the information that Hollywood or Google or Netflix have given us, influencing when not autho­rising. And “I HOPE TO DEVELOP A so her narrative is, then, once again, in Latin America’s POETIC RELATIONSHIP WITH long tradi­tion, and with all the rawness and power of LANGUAGE, AN EXPERIENCE the word, it is a mestizo narrative. It is born from WITH WORDS THAT CAN MAKE that literary historical tension. As if her characters US AWARE OF OUR BODY AND spring from questions like these: What will young Latin THE WAY IT GETS AFFECTED Americans do now that there is no Utopia, revolution BY VIOLENCE, CRUELTY, or political causes? How will they entertain them­ SEX AND TABOOS.” selves? How will they enjoy themselves? Who or what – MÓNICA OJEDA FRANCO will educate and discipline those bodies? What is violence and how is it written in this generation? Writing has this cause, this lofty mission: to see what others do not see, to see with unique eyes, to make the way of life of a period immortal. This is what makes Ojeda’s books like shots fired to another 134

planet to prove that there is life on Earth. In the past, it was Greek myths, witches, vampires, were­ “I THINK THAT ONLY WOMEN wolves, the Golem and ghosts. Now, it is confinement CAN TALK ABOUT THE in a video game, being held hostage in a cabin in the EXPERIENCE OF BEING A woods, or a female scream through a body. WOMAN IN SOCIETIES THAT Mónica Ojeda subscribes to Lovecraft’s famous ARE VIOLENT WITH THEM. dictum: “The oldest and strongest emotion of ALSO, ONLY BLACK, INDIGE­ mankind is fear, and the oldest and strongest kind NOUS, ARABIC, ASIAN AND of fear is fear of the unknown.” Because, is there LATIN AMERICAN WOMEN CAN anything more frightening than sexual awakening? TALK ABOUT HOW IT IS NOT What could be more terrifying than being in life? THE SAME BEING A WOMAN We are the protagonists of a horror film, watching IN THE NORTH PART OF others with their popcorn, or, to fit the era, we THE WORLD AS BEING are the stars of a series with few episodes. Ojeda A RACIALISED WOMAN invents a prose that makes it possible to explore FROM THE SOUTH.” several genres on a journey that leads the reader – MÓNICA OJEDA FRANCO from childhood to adolescence, from desire to perversion, in the mother-daughter relationship and in friendship. We get out of her books (if we can get out) dazed, red-eyed, and afraid that someone might get into the room.


Y el tinte de la piel de la figura tenía la perfecta blancura de la nieve. Edgar Allan Poe Era la blancura de la ballena lo que me horrorizaba por encima de todas las cosas. Herman Melville …más allá se alzaba la cumbre blanca y fantasmal del monte del Terror, de diez mil novecientos pies de altura y ahora extinto como volcán. H. P. Lovecraft Aquí yace, con la blancura y la frialdad de la muerte. Mary Shelley

Epigraphs and Opening of Mandíbula (‘Jaw’), 2018 © Courtesy of the publisher Candaya


Abrió los párpados y le entraron todas las sombras del día que se quebraba. Eran manchas voluminosas –“La opacidad es el espíritu de los objetos”, decía su psicoanalista– que le permitieron adivinar unos muebles maltrechos y, más allá, un cuerpo afantasmado fregando el suelo con un trapeador para hobbits. “Mierda”, escupió sobre la madera contra la que se aplastaba el lado más feo de su cara de Twiggy-face-of-1966. “Mierda”, y su voz sonó como la de un dibujo animado en blanco y negro un sábado por la noche. Se imaginó a sí misma donde estaba, en el suelo, pero con la cara de Twiggy, que era en realidad la suya salvo por el color-pato-clásico de las cejas de la modelo inglesa; cejas-pato-de-bañera que no se parecían en nada a la paja quemada sin depilar sobre sus ojos. Aunque no podía verse sabía la forma exacta en la que yacía su cuerpo y la poco grácil expresión que debía tener en ese brevísimo instante de lucidez. Aquella completa conciencia de su imagen le dio una falsa sensación de control, pero no la tranquilizó del todo porque, lamentablemente, el autoconocimiento no hacía a nadie una Wonder Woman, que era lo que ella necesitaba ser para soltarse de las cuerdas que le ataban las manos y las piernas, igual que a las actrices más glamurosas en sus thrillers favoritos. Según Hollywood, el 90% de los secuestros terminan bien, pensó sorprendida de que su mente no asumiera una actitud más seria en un momento así. 7

CONTRIBUTING AUTHORS SIR DAVID ADJAYE OBE is the principal and founder of Adjaye Associates. Born in Tanzania to Ghanaian parents, his broadly ranging influences, ingenious use of materials and sculptural ability have established him as an architect with an artist’s sensibility and vision. His largest project to date, the $540 million Smithsonian Institution National Museum of African American History and Culture, opened on the National Mall in Washington DC in fall of 2016 and was named Cultural Event of the Year by the New York Times. In 2017, he was knighted by Queen Elizabeth II and was recognised as one of the 100 most influential people of the year by Time magazine. NATALIA ALMADA is a recipient of the 2012 MacArthur “Genius” Award. She combines artistic expression with social inquiry to make films that are both personal reflections and critical social commentaries. Her work straddles the boundaries of documentary, fiction and experimental film. Her most recent film Todo lo demás (‘Everything Else’) is a narrative feature that premiered at the New York Film Festival and was nominated for a Mexican Academy Award. El Velador (‘The Night Watchman’) premiered at the 2011 Cannes Directors’ Fortnight and broadcast on the award-winning PBS programme POV, along with her other two feature documentaries Al otro lado (‘To The Other Side’) and El General (‘The General’). Almada’s short film All Water Has a Perfect Memory premiered at the 2002 Sundance Film Festival and received the Best Documentary Short award at the Tribeca Film Festival. Almada was the recipient of the 2009 Best Documentary Director Award at the Sundance Film Festival and has received fellowships from the Guggenheim Foundation, USA Artists, the Herb Alpert Foundation and MacDowell Colony. Almada graduated with a Masters of Fine Arts in photography from the Rhode Island School of Design and currently lives between Mexico City and San Francisco. N’GONÉ FALL is a curator and cultural policies specialist. She graduated with distinction from the École Speciale d’Architecture in Paris and was the editorial director of the Paris-based contemporary African art magazine Revue Noire from 1994 to 2001. She has curated exhibitions in Africa, Europe and the USA and has been the author of strategic plans, orientation programmes and evaluation reports for national and international institutions and art foundations. She has worked as a visiting professor at universities in Egypt, South Africa and Niger and is currently the General Commissioner of the Africa 2020 Season which is a series of events taking place in France over a period of six and half months. ARIANA HARWICZ is one of the most radical figures in contemporary Argentinian literature. Her prose is characterised by its violence, eroticism, irony and direct criticism of the clichés surrounding the notions of the family and conventional relationships. Her first novel, published in


English in 2017 under the title Die, My Love, was shortlisted for the Republic of Consciousness Prize 2018, nominated for the First Book Award at the EIBF 2017 and long-listed for the Man Booker Interna­ tional 2018. She wrote three novels in “an involuntary trilogy” sipping passion motherhood: Die, my love, Feebleminded and Precocious. Her fourth novel, Degenerado (‘Degenerate’), was published by Anagrama in Spain. Her novels have been translated into 15 languages and adapted for the theatre in several countries. SALAH M. HASSAN is an art historian, art critic and curator. He is the Goldwin Smith Professor of African and African Diaspora Art History and Visual Cul­ture in the Africana Studies and Research Center and the Depart­ment of the History of Art and Visual Studies, Cornell University. He is also Director of the Institute for Comparative Modernities (ICM) at Cornell University. He currently serves as Director of the Africa Institute, a newly established research and a think tank with a postgraduate programme in African and African Diaspora studies based in Sharjah, UAE. He has authored, edited and co-edited a number of books including Ibrahim El Salahi; A Visionary Modernist (2013), and articles in several journals and other publications. He is founding editor of Nka: Journal of Contemporary African Art (Duke University Press). He also serves as a member of the editorial advisory board of Atlantica and the Journal of Curatorial Studies. Salah Hassan has been the recipient of numerous grants from Sharjah Art Foundation, Ford and Rockefeller Foundations, and Prince Claus Fund, among others. He has curated or co-curated numerous international exhibitions, including Three Crossings: Ibrahim El Salahi, Stanley Brouwn, David Hammons organised by the Prince Claus Fund and held in three venues in Amsterdam in 2017-2018. MAY ADADOL INGAWANIJ is Professor of Cinematic Arts and Co-director of the Centre for Research and Education in Arts and Media, University of Westminster, UK. Her recent writings include ‘Aesthetics of Potentiality: Nguyen Trinh Thi’s Essay Films’ (2019), ‘Follow the Sparrow: Anocha Suwichakornpong’s Mundane History’ (2018), ‘Art’s Potentiality Revisited: Araya Rasdjarmrearn­sook’s Late Style and Chiang Mai Social Installation’ (2018), and ‘Itinerant Cinematic Practices in and Around Thailand During the Cold War’ (2018). Recent and ongoing curatorial projects include Animistic Apparatus (2018 - ), On Attachments and Unknowns (2017), and Lav Diaz: Journeys (2017). JOCHEN VOLZ is the General Director of the Pinacoteca de São Paulo. He was the curator of the Brazilian Pavilion in Venice (2017) and the curator of the 32nd Bienal de São Paulo (2016). He served as Head of Programmes at the Serpentine Galleries in London (2012-15); Artistic Director at Instituto Inhotim (2005-12); and curator at Portikus in Frankfurt (2001-04). Volz was co-curator of the 53rd Bienal de Veneza (2009), the 1st Aichi Triennial in Nagoya (2010) and guest curator of the 27th Bienal de São Paulo (2006), besides having contributed to exhibitions throughout the world. He lives in São Paulo.


PRINCE CLAUS AWARDS COMMITTEE 2019 MANUEL DE RIVERO (Chair) is an architect and urbanist from Peru. Graduating with a B.Arch from the University Ricardo Palma (Lima, 1996) and a Master of Excellence in Archi­­tecture from the Berlage Institute (Rotterdam, 2002), he worked for MVRDV (The Netherlands) as a project leader (2002-05). He is the Dean of the Archi­tecture School at Latin American Arts & Science University (UCAL) in Lima. Since 2005 he is co-leader (with Cesar Becerra and Fernando Puente Arnao) of 51-1, an architec­ ture studio based in Lima that was named among the 30 emergent studios from Iberoamerica (2G Dossier, Spain, 2007). 51-1 was selec­ted for the III Latin American Architecture Biennale (Pamplona, 2013) and for the Peruvian Pavilion at 13th Venice Biennale. Their work was nominated for the Iakov Chernikhov Prize (Moscow, 2014) and they won the international compe­tition for the extension of Medellin Museum of Modern Art in Colombia. Further projects include Mistura food fair, restaurants IK and Astrid&Gaston Casa Moreyra, hotels NM Lima and Gran Cóndor Quito (Ecuador), and houses like Pachamanca and Serpiente (nominated for Mies Crown Hall Americas Prize). Manuel de Rivero is a founding member of the think-tank Supersudaca. SHEIKHA HOOR AL QASIMI is President and Director of the Sharjah Art Foundation, and Director of the Sharjah Biennial. She is President of the Africa Institute, Sharjah, and President of the International Biennial Association. She serves on the Board of Directors for MoMA PS1, New York; KW Institute for Contem­ porary Art, Berlin; Ashkal Alwan, Beirut; Darat Al Funun, Amman, and Sharjah Architecture Triennial, Sharjah. She is Chair of the Advisory Board for the College of Art and Design, University of Sharjah, a member of the Advisory Board for Khoj International Artists’ Association, New Delhi, and a member of the jury for the 5th edition of PinchukArtCentre’s Future Generation Art Prize (2018). Recent curatorial projects include Hassan Sharif: I Am The Single Work Artist (2017-18), Yayoi Kusama: Dot Obsessions (2016-17), Robert Breer: Time Flies (2016-17), Simone Fattal (2016) and Farideh Lashai (2016) as well as 1980–Today: Exhibitions in the United Arab Emirates, UAE Pavilion, 56th Venice Biennale (2015); Rasheed Araeen: Before and After Minimalism (2014) and Susan Hefuna: Another Place (2014). Al Qasimi was co-curator for Joana Hadjithomas and Khalil Joreige: Two Suns in a Sunset (2016), When Art Becomes Liberty: The Egyptian Surrealists (1938-1965) (2016) and The Khartoum School: The Making of the Modern Art Movement in Sudan (1945–Present) (201617). Al Qasimi has served on numerous juries and prize panels, most recently for the Bonnefanten Award for Contempo­rary Art (2018) and the Maria Lassnig Prize (2017). SANDRA DEN HAMER is Director of Eye Filmmuseum in Amsterdam and President of ACE (Association des Cinémathèques Européennes). Graduating in Film and TV Studies at the University of Utrecht, she joined the International Film Festival Rotterdam (IFFR) in 1986, where she worked as coordinator for the CineMart and the Hubert Bals Fund. She was appointed director of the IFFR together with Simon Field in 2000, and general director in 2004. While at the IFFR, she participated in panels, seminars and co-production


workshops in Tunisia, Cuba, South Korea, Japan and IFFM, USA. In 2007 she became director of Amsterdam’s Filmmuseum, which merged with Holland Film, the Netherlands Institute for Film Education and the Film­bank in 2010, becoming Eye Film­museum. Under den Hamer’s leadership, Eye orga­ nises exhibitions at the inter­­­section of film and art, offers programmes that illuminate the history of cinema from its origins up to contemporary arthouse films, preserves, restores and pre­sents films of all sorts, and produces learning pro­grammes in collaboration with the education sector and the film industry. Den Hamer has served on the jury of numerous fes­ti­ vals, including Un Certain Regard (Cannes Film Festival), FESPACO (Burkina Faso), IDFA and the Netherlands Film Festival. She is also chair of the board of the annual Amsterdam Museum Night and serves on boards of sev­eral cultural institutions such as Eurosonic Noorderslag and Dansmakers. AMAR KANWAR received the Prince Claus Award in 2017. Kanwar is an artist, filmmaker and social activist. He has distinguished himself through films and multi-media works, which explore the politics of power, violence and justice. His multi-layered installations originate in narratives often drawn from zones of conflict and are characterised by a unique poetic approach to the personal, social and political. Recent solo exhibitions of Kanwar’s work have been held at the Museo Nacional Thyssen-Bornemisza, Madrid and Marian Goodman Gallery, Paris (2019), Tate Modern, London (2018), Goethe Institut, Mumbai (2016) and at the Assam State Museum in collaboration with Kiran Nadar Museum of Art and North East Network, India (2015). In 2013 and 2014 at the Art Institute of Chicago, USA; the Yorkshire Sculpture Park, UK; TBA 21, Vienna, Austria, and at the Foto­ museum Winterthur, Switzerland (2012). Kanwar has also partici­pated in documenta 11, 12, 13 and 14 in Kassel, Germany (2002, 2007, 2012, 2017). TEJUMOLA OLANIYAN is Louise Durham Mead Professor of English and Wole Soyinka Professor of the Humanities at the University of Wisconsin, Madison. He received his BA and MA from the Obafemi Awolowo University in Nigeria, and PhD from Cornell University. He has lectured widely in Africa, Europe and North America, and taught at the University of Virginia from 1991 to 2001 when he joined UW Madison. He was Chair of the Department of African Cultural Studies (2015-18), and currently directs the African Diaspora and the Atlantic World Research Circle. He has served on the executive boards of the African Studies Association (2013-15) and the African Literature Association (2010-16) including being President (2014-15). He is Editor in Chief of Journal of the African Literature Association. His authored, edited or co-edited books include Scars of Conquest/Masks of Resistance: The Invention of Cultural Identities in African, African American and Caribbean Drama (1995); Arrest the Music! Fela and His Rebel Art and Politics (2004); African Drama and Performance (2004, with John Conteh-Morgan); African Literature: An Anthology of Criticism and Theory (2010, with Ato Quayson); African Diaspora and the Disciplines (2010, with James H. Sweet); Audible Empire: Music, Global Politics, Critique (2016, with Ron Radano); State and Culture in Postcolonial Africa: Enchantings (2017); and Taking African Cartoons Seriously (2018, with Peter Limb). He runs the comprehensive web encyclopaedia of African cartoons and cartoonists, africacartoons.com.


The 2019 Prince Claus Awards Committee (left to right) Amar Kanwar, Tejumola Olaniyan, Fariba Derakhshani, Sandra den Hamer, Manuel de Rivero, Sheika Hoor Al Qasimi Š Abraham Haile Biru

CEREMONIES The 2019 Prince Claus Awards are presented by HRH Prince Constantijn of the Netherlands on 4 December 2019 at the Royal Palace, Amsterdam, the Netherlands. The Prince Claus Awards are presented in the laureates’ countries by: H.E. H.E. H.E. H.E. H.E. H.E. H.E.

Dr K.M. Boven, Netherlands Ambassador to Sudan M. Leemhuis, Netherlands Ambassador to Mexico J.F. Oppewal, Netherlands Ambassador to Niger R. Schuddeboom, Netherlands Ambassador to Congo-Brazzaville K. van Rij, Netherlands Ambassador to Brazil L. Grijns, Netherlands Ambassador to Indonesia N. Lintvelt, Netherlands Ambassador to Ecuador

The Prince Claus Fund is grateful for their co-operation and their advice. THE PRINCE CLAUS FUND BOARD OF THE PRINCE CLAUS FUND HRH Prince Constantijn (Honorary Chair) Ila Kasem (Chair) Pascal VisĂŠe (Treasurer) Patricia Spyer (Vice-Chair) Lionel Veer Eppo van Nispen tot Sevenaer Marietje Schaake Alexander Ribbink Clarice Gargard Nani Jansen Reventlow 2019 PRINCE CLAUS AWARDS COMMITTEE Manuel de Rivero (Chair), Architect and Urbanist, Lima, Peru Sheikha Hoor Al Qasimi, Curator and Visual Artist, Sharjah, Emirate of Sharjah Sandra den Hamer, Director of the Eye Filmmuseum, Amsterdam, The Netherlands Amar Kanwar, Visual Artist and Filmmaker, Delhi, India Tejumola Olaniyan, Professor of African and English Languages and Literature, Madison, US Fariba Derakhshani, Secretary to the Awards Committee OFFICE OF THE PRINCE CLAUS FUND Joumana El Zein Khoury, Director Fariba Derakhshani, Programme Coordinator Awards Deborah Stolk, Programme Coordinator Cultural Emergency Response Bertan Selim, Programme Coordinator Grants & Collaborations Mechtild van den Hombergh, Programme Coordinator Next Generation Mette Gratama van Andel, Coordinator Monitoring & Evaluation & Research Dilara Jaring-Kanik, Coordinator Public Programme Liesbeth van Biezen, Coordinator Fundraising Adrienne Schneider, Executive Assistant Sarah Smith, Coordinator Communications Charlotte Waltz, Staff member Social Media Ginger da Silva, Writer & Editor Linda van der Gaag, Researcher Laura Alexander, Researcher Sanne Letschert, Researcher


Tessa Giller, Researcher Eveline de Weerd, Monitoring & Evaluation Officer Cora Taal, Finances & Administration Ana Ramos Barretto, Assistant Grants & Collaborations Heleen de Hoog, Assistant Awards Evely Reijnders, Assistant Public Programme Annick Bettink, Staff member Fundraising Esther Roschar, Office Manager Evelyn Onnes, Documentalist (Volunteer) NETWORK COMMITTEE Abd al-Hadi Hekmat A. Abunahleh, Studio 8, Amman, Jordan Abdelaziz Taleb, Arab Media Lab, Marrakech, Morocco Consuelo Bassanesi, Despina, Rio de Janeiro, Brazil Eddie Hatitye, Music in Africa Foundation, Johannesburg, South Africa Jama Musse Jama & Ayan Mahamoud, Redsea Online Cultural Foundation, Hargeisa, Somaliland Joseph Osae-Addo, ArchiAfrika, Ghana Linda Llulla, Dokufest, Prizren, Kosovo Loreto Garin Guzman, CRIA, Buenos Aires, Argentina Marc Schmitz & Dolgor Ser-Od, Land Art Mongolia, Ulaanbaatar, Mongolia Marcel Pinas, Kibii Foundation, Paramaribo, Suriname Nestan Nijaradze & Justyna Mielnikiewicz, Tbilisi Photo Festival & Multimedia Museum, Tbilisi, Georgia Pooja Sood, Khoj International Artists’ Association, New Delhi, India Teesa Bahana, 32° East | Ugandan Arts Trust, Kampala, Uganda Vasyl Cherepanyn & Serhiy Klymko, VCRC, Kiev, Ukraine Bertan Selim, Secretary to the Network Partners Committee NEXT GENERATION NETWORK PARTNERS Njeri Gitungo, The Nest, Nairobi, Kenya Lorraine Bgoya, Magamba, Harare, Zimbabwe Lina Mejía, Platohedro, Medellin, Colombia Roberto Guillén, Managua Furiosa, Managua, Nicaragua Talgat Berikov, Art Group 705, Bishkek, Kyrgyzstan Gabriel Lima, Escola Livre de Dança da Maré, Rio de Janeiro, Brazil Aulonë Kadriu, Kosovo 2.0, Pristina, Kosovo Dimaz Maulana, Cemeti Institute for Art & Society, Yogyakarta, Indonesia Fadi Zumot, Aman Space, Amman, Jordan Avni Sethi, Conflictorium, Ahmedabad, India Lina Attalah, Mada Masr, Cairo, Egypt Deborah Anzinger, NLS Kingston, Kingston, Jamaica Amadou Fall Ba, Africulturban, Dakar, Senegal Mechtild van den Hombergh, Secretary to the Next Generation Network CER NETWORK PARTNERS Salma Samar Damluji, Daw’an Mudbrick Architecture Foundation, Yemen Yasmeen Lari, Heritage Foundation Pakistan, Pakistan May Al-Ibrashy, Athar Lina Groundwater Research Project, Egypt Carmen Bettina S. Bulaong, Escuela Taller, The Philippines Samuel Franco Arce, Cultural Emergency Centre (CEC), Casa K’ojom, Guatemala Deborah Stolk, Secretary to the CER Network


2018 Prince Claus Awards Ceremony (front left to right) Henk Pröpper, HRH Prince Constantijn, HM Queen Maxima, 2018 Principal Laureate Lekgetho Makola (Market Photo Workshop), HM King Willem-Alexander, HRH Princess Beatrix, HRH Princess Mabel, (back left to right) 2018 Laureate Kidlat Tahimik, 2018 Laureate Marwa al-Sabouni, 2018 Laureate Eka Kurniawan, Joumana El-Zein Khoury, 2018 Laureate Adong Judith, 2018 Laureate Luciane Da Silva (O Menelick 2º Ato), 2018 Next Generation Laureate Dada Masilo, 2018 Laureate José Nabor do Amaral Junior (O Menelick 2º Ato) © Frank van Beek

PRINCE CLAUS LAUREATES 2019 – 1997 AFRICA NORTH AFRICA TUNISIA Abdeljelil Temimi (1997) Sami Ben Gharbia (2012) L’Art Rue (2017) ALGERIA Fellag (1999) Barzakh (2010) Habiba Djahnine (2012) EGYPT Claudia Roden (1999) Van Leo (2000) Arab Human Development Report 2002 (2003) Lenin El Ramly (2005) Ahmed Fouad Negm (2013) Bahia Shehab (2016) MOROCCO Mohammed Chafik (2002) WEST AFRICA BENIN Paulin J. Hountondji (1999) Idrissou Mora-Kpaï (2013) CAMEROON Doual’art (2009) Jean-Pierre Bekolo (2015) MALI Cheick Oumar Sissoko (1999) Aminata Traoré (2004) National Museum of Mali (2006) IVORY COAST Werewere Liking (2000) NIGERIA Chris Abani (2001) Committee for Relevant Art (2006) Uchechukwu James Iroha (2008) El Anatsui (2009) Jelili Atiku (2015) GHANA Joseph Hanson Kwabena Nketia (1997) Tetteh Adzedu (1998) NIGER Alphadi (1998) Mariam Kamara (2019)

BURKINA FASO Jean-Baptiste Kiéthéga (1998) Diébédo Francis Kéré (2017) SENEGAL Council for the Development of Social Science Research in Africa (CODESRIA) (1997) Oumou Sy (1998) Baaba Maal (1998) Youssou N’Dour (2002) Ousmane Sow (2008) Y’en a Marre (2015) CENTRAL AFRICA D.R. CONGO Chéri Samba (2005) Faustin Linyekula (2007) Sammy Baloji (2009) REPUBLIC OF CONGO Bill Kouélany (2019) CENTRAL AFRICAN REPUBLIC Samuel Fosso (2001) EAST AFRICA ETHIOPIA Dessalegn Rahmato (1999) KENYA Mathare Youth Sports Association (2003) Opiyo Okach (2005) Henry Chakava (2006) Godfrey Mwampembwa alias Gado (2007) Kwani Trust (2010) Boniface Mwangi (2012) TANZANIA Ernest Wamba-dia-Wamba (1997) Abdul Sheriff (2005) BURUNDI Radio Isanganiro (2007) SUDAN Ibrahim Salahi (2001) The Sudanese Writers Union (2007) Kamala Ibrahim Ishag (2019) SOMALILAND Mohamed Ibrahim Warsame alias Hadraawi (2012) UGANDA Adong Judith (2018) SOUTHERN AFRICA ANGOLA Pepetela (1999)


SOUTH AFRICA David Koloane (1998) Bush Radio (2000) Film Resource Unit (2000) District Six Museum (2003) Jonathan Shapiro alias Zapiro (2005) Santu Mofokeng (2009) Chimurenga/ Ntone Edjabe (2011) Zanele Muholi (2013) Market Photo Workshop (2018) Dada Masilo (2018) ZIMBABWE The Zimbabwe International Book Fair (1997) Mick Pearce (2003) Edgar Langeveldt (2005) The Book Café (2011) Amakhosi (2015) MOZAMBIQUE Malangatana Valente Ngwenya (1997) ASIA SOUTH ASIA INDIA Jyotindra Jain (1998) Kumar Shahani (1998) Communalism Combat (2000) Bhupen Khakhar (2000) Komal Kothari (2000) G.N. Devy (2003) Indira Goswami (2008) Dayanita Singh (2008) Jivya Soma Mashe (2009) SPARROW Sound & Picture Archives for Research on Women (2014) Amar Kanwar (2017) PAKISTAN Arif Hasan (2000) Madeeha Gauhar (2006) Naiza Khan (2013) PeaceNiche | The Second Floor (2016) BHUTAN Bhutan Archery Federation (2004) NEPAL Kanak Mani Dixit (2009) TIBET Tsering Woeser (2011)

EAST ASIA CHINA Tian Zhuang Zhuang (1998) Cui Jian (2000) Wu Liangyong (2002) Wang Shixiang (2003) Li Xianting (2008) Ma Ke (2008) Liang Shaoji (2009) Jia Zhang-Ke (2010) Lu Guang (2013) Perhat Khaliq (2015) Ma Jun (2017) TAIWAN Tsai Chih Chung (1999) SOUTHEAST ASIA INDONESIA Sardono W. Kusumo (1997) Jim Supangkat (1997) Heri Dono (1998) Ayu Utami (2000) Lembaga Kajian Islam dan Sosial (2002) Biboki Weavers and Yovita Meta (2003) Slamet Gundono (2005) Teater Garasi (2013) FX Harsono (2014) Eka Kurniawan (2018) MALAYSIA Redza Piyadasa (1998) Ken Yeang (1999) VIETNAM Duong Thu Huong (2001) Dinh Q. Lê (2010) Tran Luong (2014) Vo Trong Nghia (2016) THE PHILIPPINES Elena Rivera Mirano (2001) Lav Diaz (2014) Kidlat Tahimik (2018) CAMBODIA Reyum Institute of Arts and Culture (2003) Phare Ponleu Selpak (2012) MYANMAR Tin Moe (2004) Aung Zaw (2010) Maung Thura alias Zarganar (2012) THAILAND Apichatpong Weerasethakul (2016) Anocha Suwichakornpong (2019)


PAPUA NEW GUINEA Michael Mel (2006) WEST/CENTRAL ASIA/EURASIA TURKEY Hasan Saltık (2003) Halet Çambel (2004) Gülsün Karamustafa (2014) TAJIKISTAN Farroukh Qasim (2004) ARMENIA Michael Poghosian (2005) Harutyun Khachatryan (2007) MONGOLIA Venerable Purevbat (2008) KYRGYZSTAN Gulnara Kasmalieva and Muratbek Djumaliev (2010) KAZAKHSTAN Saïd Atabekov (2011) Oksana Shatalova (2015) AZERBAIJAN Rena Effendi (2011) UZBEKISTAN Ilkhom Theatre (2011) EUROPE UNITED KINGDOM Index on Censorship (1997) THE NETHERLANDS Stichting Zomercarnaval (2001) BOSNIA AND HERZEGOVINA Ars Aevi (2007) ALBANIA Fatos Lubonja (2015) SOUTH AND CENTRAL AMERICA ECUADOR Mónica Ojeda Franco CHILE Alejandro Zambra (2013) Ignacio Agüero (2014) COSTA RICA Bruno Stagno (1997) Virginia Pérez-Ratton (2002) PARAGUAY Ticio Escobar (1998) Juana Marta Rodas and Julia Isídrez (1999) Orquestra de Instrumentos Reciclados Cateura (2013)

MEXICO Carlos Monsiváis (1998) Francisco Toledo (2000) Oscar Hagerman (2007) Maya Goded (2010) Teresa Margolles (2012) Carla Fernández (2013) Ambulante (2019) COLOMBIA Rogelio Salmona (1998) Patricia Ariza (2007) Simón Vélez (2009) Óscar Muñoz (2013) Abel Rodríguez (2014) La Silla Vacía (2016) Brigitte Baptiste (2017) CUBA Vitral (1999) Tania Bruguera (2008) Desiderio Navarro (2009) Yoani Sánchez (2010) BRAZIL Cildo Meireles (1999) Jaime Lerner (2000) Viva Rio (2000) Ferreira Gullar (2002) Carlinhos Brown (2003) Ivaldo Bertazzo (2004) Niède Guidon (2005) Augusto Boal (2007) Ana Maria Machado (2010) Lia Rodrigues (2014) Vincent Carelli (2017) O Menelick 2º Ato (2018) Djamila Ribeiro (2019) PANAMA Talingo (2001) PERU Iván Thays (2001) Gastón Acurio (2009) Museo Itinerante de Arte por la Memoria (2014) BOLIVIA Marcelo Araúz Lavadenz (2002) URUGUAY Walter Tournier (2002) ARGENTINA New Argentine Cinema: Lita Stantic (2003) Memoria Abierta (2004) Joaquín Salvador Lavado alias Quino (2005)


Eloísa Cartonera (2012) Etcetera (2015) EL SALVADOR Carlos Henríquez Consalvi (2008) NICARAGUA Instituto de Historia de Nicaragua y Centroamericana (IHNCA) (2009) Nidia Bustos (2011) GUATEMALA Regina José Galindo (2011) Rosina Cazali (2014) CARIBBEAN JAMAICA Erna Brodber (2006) Ian Randle (2012) TRINIDAD AND TOBAGO Peter Minshall (2001) Hollis Liverpool alias Chalkdust (2007) Christopher Cozier (2013) HAITI Frankétienne (2006) Jeanguy Saintus (2008) Ketty Mars (2011) MARTINIQUE Patrick Chamoiseau (1999)

Ossama Mohammed (2015) Marwa al-Sabouni (2018) ISRAEL Amira Hass (2002) PALESTINE Mahmoud Darwish (2004) Al Kamandjâti Association (2006) Emily Jacir (2007) Elia Suleiman (2008) Decolonizing Architecture Institute (Dai) (2010) Riwaq (2011) IRAQ Jawad al-Assadi (2004) Latif Al-Ani (2015) JORDAN Widad Kawar (2012) YEMEN Khadija Al-Salami (2017)

MIDDLE EAST IRAN Rakhshan Bani-Etemad (1998) Jahan-e Ketab (2001) Ebrahim Nabavi (2005) Reza Abedini (2006) Mehrdad Oskouei (2010) Newsha Tavakolian (2015) LEBANON Nazek Saba-Yared (1998) Christine Tohme (2006) Rabih Mroué (2011) Kamal Mouzawak (2016) QATAR Al-Jazeera (1999) AFGHANISTAN Mehri Maftun (2001) Omara Khan Massoudi (2004) Lida Abdul (2006) SYRIA Antoun Maqdesi (2001) Ali Ferzat (2002) Yassin al-Haj Saleh (2012)


ACKNOWLEDGEMENTS Mohamed Absusabib Kunlé Adeyemi Gabriela Alemán Hadi Al-Sallami Ajil Anas Abdul Al-Samad James Al-Shamma Shaarbek Amankul Héla Ammar Jude Anogwih Diana Anphimiadi Alessio Antoniolli Deborah Anzinger Alberto Arnaut Ayan Ashour Sam Auinger Amir Azraki Erika Balsom Isis Barra Costa Dorian Batycka Ute Meta Bauer Bauke Baumann Joachim Ben Yakoub Abdelkader Benali Ashok Bhalotra Berry Bickle Janire Bilbao Eroll Bilibani René Block Dorothee Boulanger Jessica Gloriely Briceno Cisneros Mariel Brown Bruni Burres Hera Büyüktasciyan Kitra Cahana Mauro Javier Cardenas Vincent Carelli Jorge Carrión Antonia Carver Tamara Chalabi Raphael Chikukwa Marina Coelho Maria Teresa Constantin Arleen Cuevas Naz Cuguoglu Nijah Cunningham Luciane Da Silva

Arko Datto Clare Davies Greg De Cuir Jr. Saskia De Lang Heino Deckert Elizabeth DeLoughrey Müge Demir Keita Demming Margot Dijkgraaf Maria Sofia Dourron Fusun Eczacibasi Charlotte Elias Xabier Erkizia Özge Ersoy Charles Esche Frank Étienne Reem Fadda Catherine Filloux John Fleetwood Ivis Flies Tatiana Flores Natália Fontes de Oliveira Victor Gama Marcus Gammel Raviv Ganchrow Izara García Rodríguez Kaya Genç Övgü Gökce Everardo González David Gutierrez Castañeda Diego Gutierrez Daves Guzha Garin Guzman Loreto Sofiane Hadjadj Olivier Hadouchi Ra’ouf Haj Yihya Claudia Hakim Ahmed Hamed Riyadh Naseem Hammadi Rachel Harrison Salah Hassan Katherine Hennessey Nasrin Himada Philip Himberg Rainer Hofmann Laurence Hugues Cees Van ‘t Hullenaar Ibi Ibrahim Mary Adadol Ingawanij


Uchechukwu James Iroha Shaima Jamal Ilpo Jauhiainen Erica P. Jones Abed Al Ju’beh Alice Kaplan Abderrahim Kassou John Keene Diébédo Francis Kéré Ghita Khaldi Mona Khazindar Rula Khoury Kelly Kivland Mirjam Kooiman Vasif Kortun Erden Kosova Jorge La Ferla Yanick Lahens Berend van der Lans Yasmeen Lari Fouad Laroui Lotte Laub Leila Lehnen Anneka Lenssen Andres Lepik Rebecca Lichtenfeld Gabriel Lima Anne Lopes Michielsen Tanja Lubbers Xavier Luffin Pierre Claver Mabiala Kate Macfarlane Benedito Machava Beral Madra Robert Maher Lekgetho Makola Kabelo Malatsie Nguinambaye Ndoua Manasse Lorraine Mangones Graham Martin Pam McClusky Brian McLaren Cloe Medina Erickson Lina Mejía Álvarez Paula Mesa Espinal Aude Christel Daniela Michel Salwa Mikdadi

Nathalie Miltat Patricia Mohammed Aram Moshayedi Mariusca Moukengue Farai Mpfunya Rabih Mroué Florence Mukanga Marie Muracciole Yvette Mutumba Nader Nadery Carmel Nair Paula Nascimento Gabi Ngcobo Azu Nwagbogu Ugochukwu-Smooth C. Nzewi Hannah O’Leary Emanuelle Oliveira-Monte Bige Örer Elamin Osman Selma Ouissi Edmundo Paz-Soldan Burcu Pelvanoglu Artur Pestana Pepetela Agustin Pérez Rubio Jack Persekian Tokini Peterside Raymond Phathanavirangoon Glenn Phillips Paula Piedra Pawel Pokutycki Amy L Powell Vikramaditya Prakash Marcia Lynx Qualey Ahmad Quraishi Nabil Rahmouni Rachel Rakes Renny Ramakers Jonathan Ritter José Ignacio Roca Karim Rouissi Ellen Rouwendal Agustin Perez Rubio Roberto Ruiz Kirsten Sadeghi-Yekta Tala Safie Rijin Sahakian Gabriela Salgado Rasha Salti

Sima Samar Silviano Santiago Marc Schmitz Holger Schultze Veronica Scott Esposito Cory Scozzari Avni Sethi Astha Sharma Adam Shatz Samuel Shimon Suha Shoman Elena Shtromberg Catarina Simão Ahmed Skounti Russell Slater Mari Spirito Paul Starkey Laura Katharina Straehle Stephanie Straine Beth Stryker Momin Swaitat Hilde Teerlinck Christine Tohmé Leonardo Tonus Karim Traïdia Ehsan Turabaz Universidad de las Artes de Ecuador Annelys de Vet Jochen Volz Donald Weber Apichatpong Weerasethakul Michael Wellen Jurema Werneck Erica Lorraine Williams Maria Wills Londoño Marilina Winik Övgü Gökçe Yasa Marie-Ann Yemsi Tuguldur Yondonjamts Ala Younis Alejandro Zambra


THE PRINCE CLAUS FUND WISHES TO THANK The Dutch Ministry of Foreign Affairs and the Dutch Postcode Lottery for their long-standing support of the Prince Claus Fund since 1996 and 2001 respectively The Dutch Embassies to Brazil, Congo-Brazzaville, Ecuador, Mexico, Niger, Sudan, and Thailand for their co-operation in the organisation of ceremonies and events celebrating the 2019 Prince Claus Awards in the Laureates’ respective countries Directors of the Luxury Hotels of Amsterdam and Lloyd Hotel & Cultural Embassy, which have offered rooms to the international guests of the Prince Claus Fund annually NH Collection Grand Hotel Krasnapolsky and Mr Arne Heuwekemeijer for hosting the 4 December Awards Dinner KLM Royal Dutch Airlines for flying the Laureates from every corner of the world to the Prince Claus Awards ceremony De L’Europe Amsterdam and Mr Edward Leenders for sponsoring the Prince Claus Fund Annual Dinner on 5 September OUR FUNDING PARTNERS Dutch Ministry of Foreign Affairs Dutch Postcode Lottery OUR COLLABORATING PARTNERS Amsterdam School for Cultural Analysis (ASCA) AM Qattan Foundation Amerpodia Amsterdam Fund for the Arts (AFK) Arab Fund for Arts and Culture (AFAC) Asia-Europe Foundation (ASEF) British Council CHAP Fund Compagnietheater DAS Graduate School Dutch Ministry of Education, Culture and Science (OCW) Eye Filmmuseum Framer Framed Gerda Henkel Stiftung Goethe-Institut GSRD Foundation ICCROM Kathmandu Valley Preservation Trust Leiden University Lutfia Rabbani Foundation Magnum Foundation


Mondriaan Fund Netherlands Commission for UNESCO Smithsonian Cultural Rescue Initiative Stroom Den Haag Whiting Foundation OUR TORCHBEARERS AXA Investment Managers Arjan and Rhodé Baars-Schaafsma Irma Boom Cees and Inge de Bruin-Heijn Soledad Cordova and Leonard Stolk De L’Europe Amsterdam Marc and Janneke Dreesmann-Beerkens Benno Friedberg and Judith Mahn Duco Hordijk and Arnout Ploos van Amstel IBFD KLM Luxury Hotels of Amsterdam Evert Meiling Ton and Maya Meijer-Bergmans Ribbink-Van Den Hoek Familiestichting Marieke Sanders-ten Holte Han-Maurits Schaapveld Ron and Wilma van Straalen Stichting Hinderrust Fonds Stichting Robben Stichting Schouwenburgh Stichting Vermeer 14 TEFAF Triton Collection Foundation Versteeg Wigman Sprey advocaten Elise Wessels OUR SUPPORTERS René Kiers and Alexandra Kiers-Becking Lenoirschuring Lloyd Hotel & Cultural Embassy Alexander Maljers and Chantal van Erven Dorens New Amsterdam Film Company Richard Messina Rituals Cosmetics Enterprise Sharjah Art Foundation Would you like to support the Prince Claus Fund? Please visit princeclausfund.org/support-us or contact Liesbeth van Biezen, Coordinator Fundraising, at L.vanbiezen@princeclausfund.nl to find out how you can contribute.


PUBLISHED AND PRODUCED BY THE PRINCE CLAUS FUND, AMSTERDAM EDITORS Fariba Derakhshani, Barbara Murray EDITORIAL ASSISTANTS AND INTERNS Heleen de Hoog, Stephanie Busuito, Martina Gargano, Abigail Montalvo TRANSLATORS Sumaya Abdelsadig (Arabic), Maria Arbat (English to Spanish), Marie-Luc Grall (English to French), Charles Nisz (English to Portuguese), Srinit Suwanasak (English to Thai), and Tindemans Translations (French & Spanish to English) DESIGN Irma Boom Office, Amsterdam PRINTING Lenoirschuring, Wormerveer Prince Claus Fund Herengracht 603 1017 CE Amsterdam The Netherlands T: +31.20.344.9160 info@princeclausfund.nl www.princeclausfund.org © 2019, Prince Claus Fund No part of this book may be reproduced in any form without prior written permission from the Prince Claus Fund and the copyright holders. Copyright permissions have been sought from all copyright holders. ISBN 978-90-830350-0-0

Prince Claus Fund Herengracht 603 1017 CE Amsterdam The Netherlands T: +31.20.344.9160 info@princeclausfund.nl princeclausfund.org

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2019 Prince Claus Awards Book  

All over the world there are extraordinary people active in the cultural field, many are working in areas where cultural expression faces ch...

2019 Prince Claus Awards Book  

All over the world there are extraordinary people active in the cultural field, many are working in areas where cultural expression faces ch...