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Negritude

@sarahnakiito

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Upcoming:
⚫️ Healing- ANE 5, @sights_of_resistance aug-oct, Kampala, UG
⚫️TOXIBILITES sept-nov @_steneby_

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It feels lovely to finally feel the warmth of the sun on my face and not having to wear half my wardrobe after the long winter. I’m currently in preparation for my trip to Uganda where the group exhibition ”Healing” with @sights_of_resistance awaits together with some other work, family and friends.
I’m incredibly humbled by all the blessings bestowed upon me and grateful for it all.

Even more so that my barkcloth sculpture (part V (IX) 2025-2026) in the SECOND SKIN series has been acquired by @malmokonstmuseum. It is truly an honour to be represented in my city’s collection, the city that made an adult of me, that gave me family and stability. Thank you✨.

Much of the labour on this piece was undertaken during my residency @gathenhielmskahuset w/ @kulturvastragotalandsregionen
Thank you for that opportunity!

📸 & rendering @locvotos ✨✨
Installation view, @lundskonsthall 2025 by @sarahnakiito

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a month ago

Installationsvy SECOND SKIN Primordial ties part VII (2025) @seinajoentaidehalli 6.9.2025 - 7.2.2026.
Ugandan barkcloth (Olubugo) from the Mutuba tree, raffia
Foto: @kristaluomaphotography

Tänk att det redan har gått en vecka sen vi hade vernissage för denna utställning som jag har jobbat med från och till i ca 3 år.
Det var underbart att vara i Uganda förra året där jag mötte hantverkare som odlat och skött om dessa Mutuba (fikon) träden i generationer och som tog mig igenom hela processen i bearbetningen av fikonbarken #barkcloth till denna fiber som mina händer sen tog vid och fortsatte arbeta med. Videoinstallation på denna process ingår i utställningen.

Detta arbete är ett erkännande av ett folks värdefulla material, av folkkonster och det värdet dessa ursprungsmaterial har haft för bantufolket och de ceremoniella formerna i vilka vi idag fortfarande får ta del av och utveckla materialens inneboende egenskaper i vår samtid. Just detta verk samverkar med den lokala ekologin och dansar tillsammans med närliggande skogars fallna trädgrenar. Tack snälla @m_ii_k_a och Allen som ordnade med detta🪾🪵🍃🍂.

Utställningen är uppe under ca 5 månader så har du vägarna förbi Helsinki eller västra Finland så är Seinäjoki en enkel tåg resa bort. Välkomna!

We celebrate and we grieve. We celebrate and we grieve. #freepalesti̇ne #freekongo #freesudan🇸🇩

#sarahnakiito @ngaaliinflightmagazine taken in Seinäjoen taidehalli by @sarahnakiito

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10 months ago

On view: Still I Rise by Sarah Nakiito & Liisa-Irmelen Liwata.

Installation: SECOND SKIN Primordial Ties part VI (2025)
Ugandan barkcloth (Olubugo) from the Mutuba tree, raffia
Photo: @kristaluomaphotography

Artist Sarah Nakiito will hold a duo exhibition with @liwata at Kunsthalle Seinäjoki 6.9.2025-7.2.2026.

The exhibition is curated by Elham Rahmati and Vidha Saumya.

Taking its title from Maya Angelou’s iconic poem And Still I Rise (1978) the exhibition weaves together two practices rooted in resilience, ancestral memory, and the ever-evolving act of self-definition. Their works navigate the emotional and political terrain of survival, where defiant hope, tactile materiality, and deeply personal mythologies converge. As their practices intersect, viewers are drawn into a dynamic space: one of witnessing, reflection, and quiet rebellion.

Many thanks to:
@seinajoentaidehalli
our curators: @ellerahmati and @vidheshwari
Our technicians: @m_ii_k_a & Alan Bulfin
@miriamnabunya
@fredkatomutebi
@josehendo
@ambaa_clothing_ug (Irene Warid)
@tomasfrankensteinauran
@anautostory
Anita & Lars Larsby
Elizabeth Nasimbwa
@sabanakibingyee
James Weere
Joseph Mulondo

We celebrate and we grieve. We celebrate and we grieve. #freepalesti̇ne #freekongo #freesudan🇸🇩
#sarahnakiito #barkcloth #barkclothuganda #ancestralwisdom #traditionalcrafts @guzangs @ngaaliinflightmagazine taken in Seinäjoen taidehalli by @sarahnakiito

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a year ago

As we continue recovering from this seemingly never-ending flu, I’ll share an article from the regional paper @ilkkapohjalainen (September 20 edition) about our exhibition, along with a write-up on our fellow exhibitor in the neighboring gallery, @tiinalaasonen. I’m sure the article contains only generous words about our work, and I’m equally sure there is no intentional misunderstanding at play. I’m also confident that the necessary competence exists to grasp the complexity of the works. I’m sure of all of that.

The exhibition is up for another 3 weeks should you find yourself in western Finland🪘🖤.

@liwata @ellerahmati @vidheshwari @seinajoentaidehalli by @sarahnakiito

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6 months ago

Our exhibition ’Still I Rise’ is slowly coming to an end after more than four months on display, and I would like to share some of its press coverage. First out is the art magazine NO NIIN, founded by @ellerahmati and @vidheshwari —who are also the curators of mine and @liwata ongoing exhibition at @seinajoentaidehalli —interviewed me about the works on display.

’Sarah Nakiito’s practice is shaped by the duality of her lived experience between Sweden and Uganda. Her works examine contrasting cultural responses to crisis, drawing attention to the instinctive collectivism in migrant and diasporic communities versus the individualism often present in Western contexts. This tension is embodied through her use of bark cloth: Olubugo, a traditional Ugandan material, is interwoven with the inner bark of the linden tree—once vital in Swedish pre-industrial society. This fusion creates a living, breathing textile—one that charts the convergence of Nakiito’s layered identities and histories. Her work resists erasure, not only honoring tradition but actively sustaining it as a contemporary, evolving practice.’

The full article in NO NIIN can be found in my linktree. by @sarahnakiito

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7 months ago

by @sarahnakiito

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7 months ago

2025 🤍 a year of movement, making & community

From Korea with @metood__ & @junja123 exploring ancient medical histories, right after Uganda & directly off to London to shape the soundscape for my experimental film with my favourite Matt.
From conversations with @edgesanddrinks and the premiere of @viktor_frojd s TRACKS, to bringing BLACK FEMALE FORM to life with @blackarchivessweden, @malmokonsthall, @mmabatho_t, Esther Koki, Joan Waweru & so many others.

Grateful for SVT for visiting our @kkvmmalmo in preparation for my exhibition in Finland, for a three-continent family reunion in Glasgow, and for opening Still I Rise @seinajoentaidehalli with @liwata curated by @ellerahmati & @vidheshwari.

Helsinki connections through @fondensverigefinland, powerful exhibitions across Lund, Malmö, Stockholm & Łódź, and moments that moved me deeply.

November brought @anna.karima activating Still I Rise, long conversations, a residency in Gothenburg at Gathenhielmska, celebration, tears, laughter, and so much care.

Ending the year with immense gratitude as works from the SECOND SKIN series were acquired by @statenskonstrad.

Grateful for all the blessings I’ve been given this year and for all the laughs that have mitigated the pain when we interchangeably cry and celebrate. Above all, family, friends, collaborators,
thank you to everyone who walked with me this year ✨. by @sarahnakiito

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7 months ago

My mother moved her six children away from the place we called home to a place we had never heard of, one that still insists on calling us strangers, even after thirty years in this ongoing experiment. Aware of her nearing death, she gathered all her strength, and with the help of her circle of collaborators, tried to secure a future for us that she could not imagine for us in Uganda without her.

Thirty years later, Sweden is the place I call home, and Uganda is where I have become the stranger.

When the Public Art Agency @statenskonstrad decided to acquire works from my SECOND SKIN series, these thoughts resurfaced. How extraordinary that my largest acquisition to date comes from the Swedish government, who now own work by a Ugandan artist (a first?) crafted in materials central to Baganda culture and tradition. Ugandan barkcloth, Olubugo, is now part of the national art collection (another first!). Fibres of Uganda, fibres that shaped me, are now woven into that collection. In some way, this affirms our presence as immigrants in lands that so often insist on keeping us at a distance, despite all that has been sacrificed for us to be here and that we sacrifice by staying. taken in Statens konstråd by @sarahnakiito

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7 months ago

by @sarahnakiito

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8 months ago

Our exhibition ’Still I Rise’ has soon passed its halfway mark and I’ve invited the artist, writer and curator @anna.karima who’s work exists at the intersection of documentary and experimental practices, to interact with our works and activate the exhibition with a workshop.

Join us in a mapping workshop about the ways we orient ourselves in relation to nature. The workshop takes place in the exhibition space Vintti, as a side event of the exhibition Still I Rise.

Did you collect sticks as a kid? Did your grandfather teach you to fish? Do you have a particular technique to climb trees?
Come share stories of nature, trees and traditions with us!

Welcome this Saturday @seinajoentaidehalli from 12 o’clock. taken in Seinäjoen taidehalli by @sarahnakiito

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8 months ago

On view: SECOND SKIN part IX @lundskonsthall taken in Lunds konsthall by @sarahnakiito

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8 months ago

Installation view of my site specific new work, SECOND SKIN part IX @lundskonsthall available oct 2025-jan 2026.

The installation at Lunds konsthall revolves around an existential question: What am I rooted in – and why? By asking the question what rather than where, a wider space for investigation and self-reflection opens up. In what way are our roots shaped? From what contexts, and through what stories, do we come into being?

The work is part of the ongoing project Second Skin, in which Nakiito explores the relationship between body and material, identity and transformation, and the possibility of creating new spaces for collective experiences. Central to the work is the bark fiber olubugo, a traditional material from Uganda, made from the outer bark of the mutuba tree. The fiber has a deep-rooted cultural significance, especially among the Baganda people, and its use can be traced back more than 600 years.

The installation features a garment that can be likened to a protective sheath – a shell of wrapped layers of skin around a possible body. It functions both as a symbol of care and healing, and as a reminder of the vulnerability of the body and history. The roots that wind through the space intertwine and form a root system that extends towards the surroundings and the viewer – an organic extension of the body, a movement between man, material and the breath of nature.
- Paula Ludusan Gibe, curator, Lunds Konsthall

Photos: Loc Vo @locvotos

#sarahnakiito #konstnärpåbesök #ugandanbarkcloth #olubugo by @sarahnakiito

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9 months ago