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Savannah Centre for Contemporary Art
#sccatamale
Cc: @redclay_studio
@nkrumahvolini
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Don’t miss Ibrahim Mahama’s (@ibrahimmahama3) spectacular new exhibition, “The Harvest Season”, now open to the public at the new Fondation Cartier (@fondationcartier ) spaces in Paris.
The Polaroid Foundation is proud that Ibrahim has included work he created with the world’s largest instant camera, the Polaroid 20x24, both in Venice and in Ghana.
Ibrahim has also created work using 20x24 images we shot at the new Fondation Cartier itself, while still under construction, for a project with architect Jean Nouvel (@ateliersjeannouvel)
Congratulations, Ibrahim, and a big thanks both to you and to the Fondation Cartier for helping make this little film—and our larger collaboration—possible.

@ibrahimmahama3
@ateliersjeannouvel
@fondationcartier
@redclay_studio
@sccatamale
@whitecube
@apalazzogallery
@james_barnor_archives

#analoguephotography #20x24Polaroid #TheTimeOfHarvest #ContemporaryAfricanArt #Museum

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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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While Paris Art Week is underway, Ghanaian artist Ibrahim Mahama is presenting his exhibition “The Harvest Season”at the Fondation Cartier pour l’art contemporain in Paris, which opened this morning.

For this exhibition, Ibrahim Mahama is joined by nine associate artists and collectives: Dorothy Akpene Amenuke, Gideon Appah, James Barnor, Cercle d’Art des Travailleurs de Plantation Congolaise (CATPC), Courage Dzidula Kpodo & Postbox Ghana, Zohra Opoku, Tjaša Rener, and Feda Wardak.

📸 @kristenscaron

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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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Every day people… usually we artists meet and it all the same … nice time we had……thanks fellaz

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kąrî'kạchä seid'ou (signed Kevin Amankwah), 1995. UNTITLED: [SLOW DOWN: C̶A̶T̶T̶L̶E̶ BATTLE AHEAD], Oil on Canvas, 105 × 135 cm approx. Private Collection.

Explication (Part 2):

"By putting “cattle” under sous rature, I expose the word's semantic density and destinies, in letting “cattle”, “chattel” and “battle” reverberate against one another. The battle, then, is not merely a battle over words. It is the struggle over the conditions that continue to make life fungible: the rapid conversion of bodies, things, desires and environments into units of value, extraction and consumption. The painting's injunction to “Slow Down!” asks us to interrupt that momentum and to consider what, and whose lives, are being made exchangeable in the process.

The return of Slow Down: C̶a̶t̶t̶l̶e̶ Battle Ahead in Venice is also commemorative. The painting belongs to the prehistory of blaxTARLINES. It emerged from the turbulent experimental culture of the 1990s, when a loose constellation of MFA students—Kwamivi Zewuze Adzraku (Grandpa), Emmanuel Vincent Essel (Papa Essel), Catherina Niklaus and myself (formerly known as Kevin Amankwah)—worked with collaborators including Atta Kwami and Agyeman Ossei (Dota). Together we were testing forms of artistic practice that exceeded both the inherited academy and the emerging neoliberal art world. Much of what we imagined at the time did not yet have the institutional or organisational conditions to survive. There were experiments, conversations, propositions and collaborations, but no stable collective infrastructure to hold them together. The work therefore remained scattered, provisional and unfinished. What seemed then to be isolated experiments can now be read as early signals of a collective practice that had not yet learned its own name." kąrî'kạchä seid'ou

Visit the blaxTARLINES exhibition taking it's titular from seid'ou's painting at at Biennale Arte 2026 by Koyo Kouoh between now and November 22, 2026.

#blaxtarlines #blaxtarlineskumasi #karikachaseidou #BiennaleArte2026

#InMinorKeys

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kąrî'kạchä seid'ou (signed Kevin Amankwah), 1995. UNTITLED: [SLOW DOWN: C̶A̶T̶T̶L̶E̶ BATTLE AHEAD], Oil on Canvas, 105 × 135 cm approx. Private Collection.

Explication (Part 1):

"Slow Down: C̶a̶t̶t̶l̶e̶ Battle Ahead now reads as though it had been waiting for history to catch up. Painted thirty-one years ago, it anticipated a world in which war, genocide, democratic erosion, militarised borders, ecological collapse and xenophobia have become increasingly difficult to ignore. The “cattle” iconography, together with the textual and sonic slippage between “cattle” and “battle,” gives the work an uncanny contemporary force. It asks us to pause before the acceleration of forces that turn lives, territories and resources into objects of control and extraction. This is also what made the painting resonate with the protests, boycotts and difficult questions about institutional responsibility surrounding the Venice Biennale. But there is another word already inside “cattle”: “chattel”. Before I painted the work, “cattle” had long been haunted by the history of “chattel”—the reduction of living beings to movable property and, eventually, of human beings to exchangeable things. In 𝘛𝘩𝘰𝘶𝘨𝘩𝘵𝘴 𝘢𝘯𝘥 𝘚𝘦𝘯𝘵𝘪𝘮𝘦𝘯𝘵𝘴 𝘰𝘯 𝘵𝘩𝘦 𝘌𝘷𝘪𝘭 𝘢𝘯𝘥 𝘞𝘪𝘤𝘬𝘦𝘥 𝘛𝘳𝘢𝘧𝘧𝘪𝘤 𝘰𝘧 𝘵𝘩𝘦 𝘚𝘭𝘢𝘷𝘦𝘳𝘺 𝘢𝘯𝘥 𝘊𝘰𝘮𝘮𝘦𝘳𝘤𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘏𝘶𝘮𝘢𝘯 𝘚𝘱𝘦𝘤𝘪𝘦𝘴 (1789), the Ghana-descendant abolitionist Quobna Ottobah Cugoano (Kwabena Attaborah Kweku Enu), anticipating what Saidiyya Hartman would later theorise as fungibility, described the degradation of captive Black women, children and men as being brought “away to a state of a degree equal to that of a cow or a horse.” The enslaved person becomes not simply a person who can be owned, but a body rendered interchangeable, available for appropriation, substitution, surrogation, and projections by others." -- kąrî'kạchä seid'ou

Visit the blaxTARLINES exhibition taking it's titular from seid'ou's painting at at Biennale Arte 2026 by Koyo Kouoh between now and November 22, 2026.

#blaxtarlines #blaxtarlineskumasi #karikachaseidou #BiennaleArte2026
#InMinorKeys

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Always a pleasure to share with Art schools and last night with the Beaux-Arts Paris was special. It’s always a gift when your audience are extremely attentive and patient with your thoughts and its delivery. Special thanks to @abygaye_ @jeannebarral @kapu.b @fondationcartier for making this happen. #Paris #ibrahimmahama #artschool #contemporaryart #ghana

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We visited @_kikomeko Working with cast aluminium sourced from scrap engine parts and domestic objects; melted down and recast. Gerald Kikomeko Puto takes us through his studio process.

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