We have just returned from N’djamena after a very intense but super exciting 12 days. As some of you may have seen from all the postings on Facebook, the project was exciting and very well received by the N’Djamena public. The public engaged with the images displayed in a profound and unpretentious manner. They equally identified very much with the concept of Invisible Borders. What was intriguing (I believe, to them) was the fact that the exhibition featured mostly images from N’Djamena, but also Khartoum, Addis Ababa and a bit of Lagos and Abuja. From the feedback we picked up, the audience were able to situate themselves within the reality portrayed by the images. They identified familiar places, but were also able to project their imagination beyond as a result of the “openness” of the images and their tendency to depict occurrences in the public spaces of African cities. The N’Djamena audience was able to identify with the familiarity of places; people and structures proffered by the images, while at the same time relished the unorthodox gaze suggested by the creators of the images.
Sao Tomé. Until only a few days ago this Island has been somewhat of a miniscule dot on the map of my consciousness. I have heard of it, even managed to spot it in the map a few times, but I usually gloss over it with enough interest accorded to an obviously not interesting subject. Today, I am here. Invited by the biennale of Sao Tomé and Principle. A biennale initiated by the artist, João Carlos Silva and curated by Adeleide Ginga.