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Lecture : Venice Biennale: Uganda gets its first pavilion under the theme « Radiance – They Dream in Time », with artists Acaye Kerunen and Collin Sekajugo
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ON ART MEDIA > media > News > Venice Biennale: Uganda gets its first pavilion under the theme « Radiance – They Dream in Time », with artists Acaye Kerunen and Collin Sekajugo
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Venice Biennale: Uganda gets its first pavilion under the theme « Radiance – They Dream in Time », with artists Acaye Kerunen and Collin Sekajugo

Dernière mise à jour : 2022/03/01 at 9:58 AM
La Rédaction Publié sur 1 March 2022
2 Min Read
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Under the theme « Radiance – They Dream in Time », curator Shaheen Merali welcomes two artists from Kampala, Acaye Kerunen and Collin Sekajugo to present their work at the Venice Biennale at Palazzo Palumbo Fossati in Italy from April 23 to November 27, 2022.

For Uganda, which enters this global gathering that is the Venice Biennale, it is an important moment to put forward the fruitful ground that is this nation to present the artistic thoughts of artists, to allow the world the semantic knowledge of African practices, and for this situation, Ugandan and its modernity.

According to Shaheen Merali, curator of the exhibition – « Radiance – They Dream in Time » alludes to the fundamental information and encounters experienced by Acaye Kerunen and Collin Sekajugo that speak to a wide range of regions in Uganda as well as to the metropolitan exchanges and everyday environments of its metropolitan locations.

The two artists Acaye Kerunen and Collin Sekajugo have worked with formal and informal archives of Uganda’s dynamic visual culture and propose an approach of perception of the territory, raising creative acts while relying on consecrated and implicit information on environmental management, deconstructing utilitarian materials and creations, to reposition the work and tell new stories, a just way to draw attention to women’s work in Africa and issue an affirmation of the role played in the environment.

Or by speaking and evaluating its many predispositions across visual, oral and computerized societies taking care to sport a contemporary anthropological inversion of this standard culture from the perspective of a firmly African sense of disrespect and play on the specially named, sometimes theatrical, character hacking that reveals some of the facts behind stock images that continue to quietly colonize the world with the heaviness of their own fame.

La Rédaction 1 March 2022
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