RADIANCE. THEY DREAM IN TIME // UGANDA PAVILION
April 23rd - November 26th, 2022
Radiance. They Dream in Time. Uganda National Pavilion for the first time at the 59th Venice Biennale of Art.
Curated by Shaheen Merali.
Artists on show: Acaye Kerunen and Collin Sekajugo
Location: Palazzo Palumbo Fossati, San Marco 2597
Google Maps link.
Opening hours: Wednesday to Monday, 10 am – 6 pm. Tuesdays closed. Free admittance.
International Press Enquiries:
Lainya Magaña | A&O PR
Says curator Shaheen Merali: “We are looking forward to presenting the works of Ms. Kerunen and Mr. Sekajugo, whose dual approaches to art making, while diverse in their respective aesthetic approach, finds a common ground in their respective imaginations on materiality and form. ‘Radiance - They Dream in Time’ refers to the essential knowledge and lived experiences of Kerunen and Sekajugo in speaking to the many different territories of Uganda, as well as to urban trade and living conditions in its urban centres. Both artists have been actively working with formal and informal archives of Uganda’s dynamic visual culture.”
Acaye Kerunen’s process as a socially engaged artist foregrounds the work of local and regional Ugandan craftswomen, celebrating them as integral collaborators and elevating the artistic practices of local artisans who are the gatekeepers of their local wetlands, drawing upon a sacred and unspoken knowledge of ecological stewardship. By deconstructing utilitarian materials and artisan crafts, Kerunen repositions the work in order to tell new stories and posit new meaning. The act of re-installing these deconstructed materials is a response to the agency of women’s work in Africa and an acknowledgment of the role that this artistic labor plays in the climate ecosystem.
Collin Sekajugo approaches his work from a distinct, aesthetic departure point that resides in his repeated return to pop culture and the omnipresent influence exuded by the global mainstream, conversing and critiquing its many biases across visual, oral and digital cultures. Since 2012, Sekajugo has worked with the manipulation of the common stock image to reveal its inherent biases of entitlement and privilege largely modelled on the Western self. Sekajugo’s artistic practice highlights a contemporaneous anthropological reversal of this mainstream culture through the lens of a decidedly African sense for irreverence and play on the ad-hoc. Conceptually, the works of Sekajugo become pure theatre, a hacking of identity that exposes some truths behind these stock images that quietly continue to colonise the entire globe by the weight of their own popularity.