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Kara Blackmore

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The week kept on beeing intense, with the opening of 1:54, the African art fair, Somerset House, London with
-The Special Project ‘Our Canvas Grows from the Soil’, i loved the work of Piloya Irene, with her Burnt Shadow III
-Nabiha Mohamed at 1957 gallery, London and Accra @1957gallery
-Leon Radegonde with his ‘Restan Lepase Lepase’ @restan_lepase at Gallery Dep Art, Seychelles
-Kuamen at Yamamoto Keiko Rochaix gallery, London @yamamotokeikorochaix
-Selassie Atadika at the presentation of the Ghanean project around cocoa and how to protec their farmers midunu.com
and the research based paintings of Beau Disundi at In-Situ Gallery, Romainville
@beaudisundi.
Great work of the 54 chalk circles of the African continent by Martin Wöllenstein on the Safran fountain!

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Borderlands Art presents 𝘖𝘶𝘳 𝘊𝘢𝘯𝘷𝘢𝘴 𝘎𝘳𝘰𝘸𝘴 𝘍𝘳𝘰𝘮 𝘵𝘩𝘦 𝘚𝘰𝘪𝘭, a specially curated exhibition consisting of artworks all made from barkcloth, an old, non-woven textile crafted from the inner bark of the Mutuba tree by the Baganda people of southern Uganda.

👉 Swipe to explore more.  🎟️Get your tickets via the link in our bio   📍Somerset House, Strand, London WC2R 1LA, United Kingdom    🗓️VIP and Press Preview:  Thursday 15 October, 11 am - 7 pm⁠  ⁠  🗓️Public and VIP Opening:  Friday 16 October, 11 am - 7 pm⁠  Saturday 17 October, 11 am - 7 pm⁠  Sunday 18 October, 11 am - 6 pm⁠    #154artfair⁠ #ContemporaryAfricanArt

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Had a great time discussing contemporary art and the diaspora at the Atlanta Art Fair.
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Participation from:
@borderlandsarts
@adama_atl
@spelmanmuseum
@one.contemporary

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Our Booth for Atlanta Art Fair is a story about materials. From kyenkyen, to lubugo, to cotton, to rubber, to paper.

The group presentation takes collectors on a journey from the DR Congo, to Uganda, to Ghana, to Benin and across the globe to the UK.

One more day to wow Atlanta audiences with the rich storytelling from Africa and the diaspora.
@studioalexandrekyungu_ @studio_gaelmaski @charity.atukunda @piloyairene88 @othellodesouzahartley @laeila.iyabo.adjovi
📍Booth A10
Pullman Yards, 225 Rogers Street Northeast, Atlanta, GA 30317

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The sensitive environmental and biographical work of Piloya Irene (@piloyairene88) will be on show at @atlartfair.

Opening Today!

The display features her series ‘Yesterday Is Gone’. This series of silkscreen prints on Ghanian kyenkyen textile re-imagines home in Gulu and Kumasi in the same frame. Portraits document the process of making Kyenkyen, moving between domestic and familiar spaces. There are glimpses into the daily lives amongst the kyenkyen trees. The prints also capture moments in time that show a self reflection on the life of an artist-mother in Gulu. Together the prints tell of an intimate and collective social portrait stretching across the continent. Each piece archives the intergenerational knowledge, labour and gathering that is embedded in the series.

Piloya Irene is an artist and educator living and working in Uganda. She uses sculpture, painting and film to explore personal experience of displacement and its effects on memory and history in relation to place, identity and belonging. She draws inspiration from her own biography and the networked relationships found in nature. Piloya holds a master’s degree in Sculpture from Kwame Nkrumah University of Science and Technology, Kumasi, Ghana and a Bachelor's Degree in Industrial Fine Art and Design from Uganda Christian University. Her work has been exhibited across Uganda, as well as in Ghana, Germany and Belgium.

📍Booth A10
Pullman Yards, 225 Rogers Street Northeast, Atlanta, GA 30317
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🗓️1-4October
Select VIP Preview Thursday, October 1: 4–6pm
Opening Evening presented by @rbcwealth_us (RBC Wealth Management) Thursday, October 1: 6–9pm
Public Days  Friday, October 2: 11am—7pm Saturday, October 3: 11am—7pm Sun

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Come see us at the Atlanta Art Fair to experience the amazing work of @studioalexandrekyungu_ from the Nzoloko Series

At a time of travel restrictions and mass migration, this work is an essential commentary on borders and the symbolic meaning of materials.

Nzoloko, the Lingala word for scarification, means to scratch, etch, burn, mark or superficially engrave drawings, images or words on the skin. It is this word that creates an underpinning philosophy for Alexandre Kyungu Mwilambwe’s work in rubber. The incisions leave behind permanent alterations to the body, forever marking a person's identity, origin and history. Kyungu Mwilambwe’s practice invokes the acts of scarification to serve as an intermediary element linking his ancestral African identity to cartography. He confronts issues of accessibility, encounter and mobility by linking different materials with modes of making.

As a cartographic essay, the series opens borders by making maps permeable. It connects materials historically connected to the DRC but mostly made in Indonesia and the Phillipses then shipped across the world to Kinshasa. The reclaimed rubber comes from automotive shops across the city. Collecting them helps to build a relationship between the sellers and the material. Kyungu Mwilambwe reflects these people’s stories, the context of global rubber production, and fuses them with his own journey across different geographies.

Alexandre Kyungu Mwilambwe is a visual artist living and working in Kinshasa, Democratic Republic of the Congo. His artistic practice combines painting, drawing, sculpture and installation to address notions of migration and identity, borders and space, using signs and symbols as representational agents. He uses doors and rubber as support and subject to link the themes of urban cartography and body scarification in order to create an imaginary landscape.

📍Booth A10
Pullman Yards, 225 Rogers Street Northeast, Atlanta, GA 30317

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🗓️1-4October
Select VIP Preview Thursday, October 1: 4–6pm
Opening Evening presented by @rbcwealth_us (RBC Wealth Management) Thursday, October 1: 6–9pm
Public Days  Friday, October 2: 11am—7pm Saturday, October 3: 11am—

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Super excited to be debuting the series 'Within' by @othellodesouzahartley at @atlartfair

Within is an exploration of cultural identity and the importance of listening to local voices and traditions in contemporary art-making. It reflects the relationship between youth, culture and diasporic creativity. Deploying his work in fashion, British-Caribbean artists Othello De’Souza-Hartley set up a collaborative studio during his residency in Uganda @32degreeseast. Situated in one of Kampalas most diverse neighbourhoods, he used the studio as a staging ground for conversations about gender, identity and tradition. De’Souza-Hartley met people aware that prominent traditional materials, and points of cultural pride, were being eroded for more modern materials and consumption.

Othello De'Souza-Hartley is a London-based interdisciplinary artist working across photography, moving image, painting, drawing, and performance. The human body sits at the core of his practice, as a direct subject, as a metaphor, and a surface that holds memory. Applying minimal gestures to maximum effect, his work finds meaning within shadows and imperfection.

📍Booth A10
Pullman Yards, 225 Rogers Street Northeast, Atlanta, GA 30317

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🗓️1-4October
Select VIP Preview Thursday, October 1: 4–6pm
Opening Evening presented by @rbcwealth_us (RBC Wealth Management) Thursday, October 1: 6–9pm
Public Days  Friday, October 2: 11am—7pm Saturday, October 3: 11am—7pm Sunday, October 4: 11am—6pm

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As part of the Atlanta Art Fair’s International Artist Spotlight, Artist Brendon Reis will be in conversation with a group of scholars representing the African Diaspora. This distinguished group of artists and scholars highlight perspectives on contemporary art, derived from work on four contents.

Brendon Reis, also known as Brednatella, is a self-taught visual artist from Salvador, Bahia, Brazil, now based in São Paulo. His work emphasizes themes of Blackness, sexuality, and intimacy, navigating the symbolic complexities of existence.

*Join us at the Atlanta Art Fair (Booth J 1), Oct. 1-4th for access to available works, and an opportunity to meet Brendon during his US visit.

*Also we encourage you to join our gallery newsletters at OneContemporary.Art 🔗 & GerberFineArt.com 🔗 for additional info, and artist talk details.
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Join our mailing list at OneContemporary.Art 🔗 & GerberFineArt.com
#AtlantaArtFair #Brazil #WeAre26 #ContemporaryArt

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Ilẹ̀ Mọ Wa — The Land Knows Us

📍 UCL East, One Pool Street, E20
🗓 Friday 18 September 2026
⏰ 15.00 –21.00
🎟 Free — registration essential. Link in bio.

Over the past 18 months, I’ve been developing what I now believe may be my life’s work: @sacredblackecologies

The work has moved between archival research, fieldwork, writing and film; through botanical gardens, collections and coastlines, and into a much bigger question about what it means to understand land, water and plant life not simply as resources or landscape, but as holders of memory.

Presenting work-in-progress at the Re: assemblage Symposium in Lagos last November, curated by @naimasfieldnotes and co-organised by @yinkashonibarefoundation & @gasfoundation , was an important moment in its development. As was sharing a first-ish draft of the film at @mfff.uk , programmed by Flematu Sesay @publictactics + Nathanial Lloyd Richards @naeuk

I don’t think the work could have travelled or developed in quite the same way without those gatherings. It feels particularly meaningful to co-host Ilẹ̀ Mọ Wa — The Land Knows Us at @thebartlettucl

The evening brings together ‘Ecotone as Meeting Ground: Remapping West African and Dalit Healing Ecologies’, a workshop led by Jonn Gale and abhaya rajani.

I’ll also share another draft of the Sacred Black Ecologies film, placing it in conversation with my dear friend Dr @amajosephine and her work on Intimate Ecologies, followed by a conversation moderated by Naima Hassan.

It means a great deal to bring this work home while continuing the conversations that have helped it grow.

Conceived within the Re: assemblage programme with Yinka Shonibare Foundation and Guest Artist Space, in partnership with The Bartlett School of Architecture and co-funded by AHRC, with support from UCL Knowledge Exchange, Dr @karablackmore / @uclurbanroom and Iris Ceramica.

Come join us. 🌱

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Poetry reading by @gloria.kiconco before the closing of Poetics In Print.

She will share extracts from two years of unpublished poems, followed by a tour of the exhibition and Q&A with the artist.

Saturday 15th August
Venue: Latitude 0º
Time: 16:00-18:00

*The Translucent Man, 2025, Film by @ug_titann

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You are invited to a poetry reading as our closing event for Poetics In Print. by @gloria.kiconco

📅 Saturday 15 August 2026
📍Latitude 0º, Makindye, Kampala @latitude0kampala
⏰16:00-18:00

Set within the solo exhibition Poetics In Print, Gloria Kiconco will be reading from two years of unpublished poems. She will take audiences on a poetic tour of the creation of the series that are on display: Cardinal Directions and Negative Spaces. The poems selected for the reading are companions to the exhibited artworks, enlivening the stories of love and perseverance.

Schedule
16:00 Arrival - Coffee and bites
16:30 Reading - Gloria Kiconco
17:00 Exhibition Tour -Gloria Kiconco
17:30 Q&A with Gloria Kiconco and Helga Rainer

DM to confirm your attendance or email info@borderlandsart.com for more info.

See you soon

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🎨✊ Routes of Resistance — a series unfolding across borders. [6/6]

Meet Dr Kara Blackmore — curator and anthropologist — closing our series with a return to the Ugandan chapter of the project. 🇺🇬✨

Kara co-shaped SEND ME, the exhibition held at Circular Design Hub in Kampala (25 April – 20 May 2024, in collaboration with @borderlandsarts), which brought together three contemporary artists whose work moved between deeply intimate storytelling and geopolitical critique. Illustration, photography and zine-making became staging grounds to explore questions of freedom and movement — tracing different eras of political repression in Uganda and East Africa, and connecting the region's rich literary heritage to today's concerns around security. 📖

The exhibition drew inspiration from the storied legacy of Transition Magazine — a critical African literary voice born in Uganda, exiled in Ghana, and now produced at Harvard. 🌍

And with this final interview, our journey through Routes of Resistance comes to a close — six voices, four regions, one shared conviction that art remains a vital tool of resistance. 🕊️

🎥 Interview by Rida Khan
🔗 Watch the full video on our Youtube channel.

#artisticfreedom #safehavensfreedomtalks #artistsatrisk #culturalrights

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