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RED CLAY

@redclay_studio

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OPENED ON 5th September 2020
Studio of @ibrahimmahama3
Cc : @sccatamale @nkrumahvolini @theworkshop_mst
Click on Link 👇👇

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“At the end of the day, I might not have made a painting or sculpture. But those objects we produce will become classrooms, or aquariums, or farms. It allows for a certain reordering of image-making within the mind.”

Ibrahim Mahama
Red Clay, Tamale, 12 Nov. 2023
@ibrahimmahama3 @redclay_studio @sccatamale

#LeTempsDesRécoltes #TheHarvestSeason #FondationCartier @fondationcartier curated by @abygaye_ @jeannebarral @chiaraagradi

featuring art by @appah_gideon @dotamenuke @zohraopoku @catpc_lusanga @james_barnor_archives @tjasa_rener @postbox.ghana @dzidula_k @idontliketrumpverymuch @fedawardak @ibrahimmahama3

cc @blaxtarlines @kari_seidou @edges_276 @ben_okantey @benjoonam @k_mls_k @chiara_nicoletti_ @checamigliorati @apalazzogallery @whitecube

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„The Harvest Season“ (Le Temps des récoltes) by 𝐈𝐛𝐫𝐚𝐡𝐢𝗺 𝐌𝐚𝐡𝐚𝗺𝐚 at Fondation Cartier pour l’art contemporain @fondationcartier

From October 22, 2026, to February 28, 2027, the foundation presents a major solo exhibition dedicated to Ghanaian artist Ibrahim Mahama @ibrahimmahama3

At the heart of the exhibition is „THINGS FALL APART“, a monumental site-specific commission curated by @abygaye_, @jeannebarral, and @chiaraagradi. The installation is constructed from materials sourced from the decommissioned Aboso Glass Factory in the Western Region of Ghana. Originally operated between 1966 and the early 2000s, the factory was one of Kwame Nkrumah’s central industrial projects under GIHOC. The work invites viewers to collectively reflect on the lost potentials of the past to reconsider the future.
Alongside this central installation, the presentation includes collaborative works created with nine guest artists and collectives from Ghana.

#FondationCartier #IbrahimMahama #TheHarvestSeason #LeTempsDesRecoltes

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THINGS FALL APART, a major commission and installation at the heart of the HARVEST SEASON @fondationcartier curators by @abygaye_ @jeannebarral @chiaraagradi built out of the decommissioned Aboso Glass Factory in the Western Region of Ghana which operated between 1966 till the early 2000s. This was one Kwame Nkrumah’s most important industrial projects as part of GIHOC. The work invites us to collectively harvest the lost dreams and potentials buried in the past towards the future.

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ART & CULTURE | IBRAHIM MAHAMA: THE TIME OF HARVEST

How can we transform the histories we inherit into possibilities for the future?

In The Time of Harvest, Ghanaian artist Ibrahim Mahama brings together nine artists and collectives to explore colonial legacies, cultural memory, and collective transformation.

Through textiles, photography, archival imagery, and architecture, the exhibition reflects on Africa’s independence movements, the preservation of cultural heritage, and the power of art to build knowledge, strengthen communities, and imagine new futures.

For Mahama, the harvest is a collective process: planting ideas, sharing knowledge, and nurturing the cultural foundations of generations to come.

The future begins with what we choose to preserve, create, and cultivate together.

@dzidula_k @postbox.ghana @zohraopoku @tjasa_rener @fedawardak James Barnor
Dorothy Akpene Amenuke

#DebonairAfrik #IbrahimMahama #TheTimeOfHarvest #ContemporaryAfricanArt #AfricanArt ArtAndCulture

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What can we build from the remains of the past?
At Fondation Cartier in Paris, Ghanaian artist Ibrahim Mahama turns abandoned materials, industrial ruins and traces of history into something unexpectedly alive.👨🏿‍🎨
His major exhibition, The Harvest Season, brings together art, architecture, memory and collective work. At its centre is Things Fall Apart — a monumental reconstruction inspired by a former glass factory in Ghana, once built as a symbol of a new national future and later left abandoned.
For Mahama, repair is never about erasing scars. It is about allowing history to remain visible — and giving what already exists another life, another meaning and another future. 🇬🇭
In our latest article, we explore Ibrahim Mahama’s remarkable vision, the ideas behind The Harvest Season, and the new chapter of Fondation Cartier in the heart of Paris.🇫🇷
Read the full story in Celebrating Life. 📖
#CelebratingLife #IbrahimMahama #FondationCartier #ContemporaryArt #celebratinglifemagazine

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Excitement to come from future past
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Official photo by @cyril_nii_mettle @franceghana at IM ceremony for Chevalier Arts et Lettres 🔥🙏

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This week, I’m truly delighted to support the work of Ep. 282 Jeanne Barral, curator at the Fondation Cartier pour l’art contemporain in Paris.

The current exhibition, Ibrahim Mahama: The Harvest Season, is monumental, moving, and deeply meaningful. It reminds us, in so many ways, of our shared humanity and of how important it is to respect one another, to listen, and to recognise the dignity we all deserve.

Art has such a powerful way of opening our eyes, touching our hearts, and inviting us to see the world differently.

We still have so much to learn from one another

Fondation Cartier pour l’art contemporain
2, place du Palais-Royal
75001 Paris
October 22, 2026 – February 28, 2027

Exhibition curators:
Aby Gaye-Duparc (Ibrahim Mahama)
Jeanne Barral (Associate artists)
Associate curator:
Chiara Agradi (James Barnor)

Image ~ Ibrahim Mahama, Parliament of Ghosts, 2025, wooden Ashanti stools, Red Clay, Tamale © Ibrahim Mahama photo © Ernest Sackitey, courtesy Red Clay

Link in bio. On major podcast platforms.

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The story behind the aircraft

In 2021, Ibrahim Mahama acquired six decommissioned aircraft using proceeds from his artwork sales. Instead of leaving these planes to become scrap metal, he brought them to Northern Ghana and transformed them into spaces for learning and creative exploration.

The aircraft have been used to introduce children to aviation, engineering, drone technology, coding, and art offering experiences many might otherwise never have access to.

One remarkable story is that of Abdul-Latif Zakaria, a young boy from the nearby community who learned to operate drones through his experiences at Red Clay.

WHERE WALLS HOLD STORIES.

Built from the earth, shaped by imagination, and illuminated by history.

This architecture is more than a structure. Every brick, every shadow, and every opening speaks to a vision of creativity rooted in Northern Ghana.

A reminder that art doesn’t always hang on walls. Sometimes, the walls themselves are the art.

THE WEIGHT OF HISTORY.

Some stories are carried, not written.

A powerful visual reminder of the hands that built, the people who laboured, and the histories that deserve to be remembered.

This art becomes a conversation between the past and the present.

Behind every great structure is a story of human effort.

FACES OF HISTORY.

Every face holds a story. Every generation leaves a mark.

Some names are remembered, others slowly fade with time. But through art, their presence continues to speak.

These portraits remind us that history isn’t only found in books. It lives in people, their experiences, and the memories they leave behind.

Because to remember the people is to preserve the story.

PASSAGE OF TIME.

Some journeys are not measured by distance, but by the stories we discover along the way.

Between these walls of red clay, light and shadow create their own language.

Every step reveals a different perspective. Every corner invites curiosity.

A quiet reminder that beauty isn’t always found in what stands before us, but sometimes in the spaces we pass through.

THE ARCHIVE OF FORGOTTEN HANDS.

What the world once considered ordinary, art transforms into something extraordinary.

Hundreds of w

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A trip to SCCA Red Clay Studio in Tamale, Ghana 🇬🇭✨ Exploring the beauty of contemporary African art through incredible works by artists from Ghana and Kenya 🇬🇭🇰🇪🎨 A beautiful celebration of creativity, culture, and storytelling through art. ❤️

#SCCARedClayStudio #Tamale #AfricanArt #GhanaArt #kenyanart

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Last rainy season, we planted 2,000 native trees.
Our goal was to help lower temperatures, preserve our culture, and promote the consumption of our own cuisines.

I am proud to share that 60% of those trees survived into this rainy season. This year, we are planting even more, with a goal to complete this phase over the next 3 seasons.

Northern Ghanaian cuisine is 90% plant-based – 55% from crops and 35% from trees.

That makes native trees an integral part of our culture and our food. Yet, these tree species are slowly going extinct due to rapid urbanization.

Native trees are being cut down without replacement. This directly threatens the availability of our native foods and spices such dawadawa, kantong, dori, churi, among others, and makes it easier for us to drift towards other foods simply because they are more available.

Trees are essential to our lives, our food, and our environment. Planting one is planting culture, nutrition, and a future.

#NativeTrees #FoodSystems #NorthernGhana #ClimateAction #FoodHeritage

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Yes all that……#spotlesstravelandtour #travel #spotlesstravel #traveltheworld #

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