African Art Fairs Like 1:54 Are Transcending Boundaries (OkayAfrica)

Originally published on the Okayafrica website.

The new international scramble for Africa via the rise of contemporary African art and its global appeal begs the question: what exactly is African art?

Given the effects of globalization, the line between local and international has become increasingly arbitrary. British-Nigerian Turner Prize-winning painter Chris Ofili, for example, grew up in Manchester and now lives in Trinidad; Gabonese artist Owanto has spent the majority of her career living and working in Europe. While both artists are certainly African, their work, which incorporates a variety of media, often does not directly address the continent. It often seems that the artist’s identity is enough to be categorized as African art, rather than the substance of a piece.

When the Metropolitan Museum of Art in New York first acquired the art of El Anatsui, the celebrated Ghanaian artist, curators first placed his work in the African gallery. Only later did they add his pieces in the Modern and Contemporary Galleries. For Anatsui, it “raise[d] so many questions as to what precisely [he is]…African artist or an artist? An artist in India is the same as an artist in Africa, Ghana, Japan or America.”

With sales directed at a public largely unacquainted with Africa’s vast diversity, some curators are adding nuance to the idea of “African art” by casting the new wave of talent as a coterie of artists of African descent exploring universal themes through locally-rooted perspectives. Indeed, the use of ‘1:54’ itself in the name 1:54 Contemporary Art Fair is an attempt to draw attention to the 54 countries and hundreds of cultures that make up the African continent.An expanding network of galleries across the continent helps contribute to that diversification. Over 14 Africa-based galleries from the continent’s five regions exhibited at 1:54’s London 2016 edition—a number that stands to grow in the near future.

For all the shortcomings of the term “African art,” it does serve a purpose in driving sales. In light of limited domestic markets and the fact that 80 percent of African art primarily sells in the United States and Europe, grouping together African artists is key to elevating their international profile. In this light, it is somewhat fitting that this year’s 1:54 London featured a discussion on locating “African design” and its constituents. The art of the continent’s leading talents sells at a relative discount compared to their peers from regions like East Asia. At 1:54, for example, pieces generally range from $1,500 to $100,000 (with a few notable exceptions from venerable stars like Sudan’s El-Salahi). Increasingly, the visibility of these artists on an international stage as “African” can help their investment appeal among collectors.

The wide umbrella of “African”—which often includes the diasporic perspectives of the Afro-Latin, Afro-Caribbean, and Afro-American perspectives—also allows for an opportunity to explore commonalities of the black experience on a global platform. Increasingly, African-American artists like Kehinde Wiley and museums like Brooklyn’s MoCADA Museum have been catalysts for transatlantic conversations on black aesthetics. 1:54’s inclusion of an installation by British-Trinidadian artist Zak Ové and photographers by African-American photographer Gordon Parks speak to the inclusivity of the current African art market, and a willingness to expand its vocabulary beyond references to tradition and neo-colonialism.

Although some may criticize the explosion of Africa-centric art events, they may be seen as a statement of possibility rather than a reflection of constraints. With a rapidly expanding creative class across the continent, Africa is increasingly becoming a locus of discursive gaze and thought. Artists like Ghana’s Serge Attukwei Clottey are pushing the limits of the gender binary, while Algeria’s Zoulikha Bouabdellah probes religious lines. In showcasing an array of African artists working across styles and mediums, fairs like 1:54 challenge society to pursue a more wide-ranging definition of “Africa” that embraces and frees the continent from its historical baggage by claiming all these artistic representations without being beholden to just one.

Afropreneurs: Fred Apaloo’s Villa Grace is Shaking Up Ghana’s Fine Dining Scene (OkayAfrica)

If you've checked out the food section of this site, Jikoni, you're well-aware that I'm passionate about all things food. I recently interviewed Fred Apaloo, the creative director of Ghanaian boutique catering company Villa Grace for Okayafrica. Villa Grace, alongside some of my favorite Accra hotspots like Cafe Kwae and Tea Baa, is shaking up the Ghana food scene. Learn more here or read below.

Ghanaian chef Fred Apaloo is serving up elaborate brunches at his Accra pop-ups. He’s part of a budding fine-dining scene in the Ghanaian capital that emphasizes international flavors.

With a growing number of Ghanaian professionals returning home from abroad, Accra’s food scene is in the midst of a revolution. Alongside newly launched restaurants—Tea Baa, Neem Grill and Café Kwae—Villa Grace, Apaloo’s boutique dining company, is leading the charge to help more Ghanaians rethink their relationship with food.

Villa Grace has quickly become one of Accra’s most exclusive and unique dining experiences. Through intimate pop-up brunches, the brand has gained a large following, selling out tables weeks in advance. And yet, despite the careful preparation that goes into each Villa Grace event, its creation happened almost by chance.

When Apaloo moved home from Miami in 2015 to spend more time with his mother, he spent much of his downtime experimenting in the kitchen and documenting his creations via Instagram. “As I posted the photos, I had a lot of people message me asking if I’d cook for them, so I started a series called ‘Brunch Friends,’” he says. “I’d lay out a spread every Saturday, and I’d plate it nicely as if we were in a restaurant in the comfort of my home.”

After two cousins encouraged him to create an Instagram page as a platform for a social media blog, he launched Villa Grace as a food photography project. The overwhelmingly positive response led him to develop a pop-up dining experience a few weeks later.

“I studied hospitality management and I have a background in hospitality and service, so the whole concept wasn’t brand new to me,” Apaloo tells Okayafrica. “In Miami, pop-ups are common, but they’re still a new concept in Accra. Our first brunch, the ‘Genesis’ brunch, featured six courses and went extremely well. After I saw the reviews, I realized I could really launch it into a concept.”

In West Africa, where the kitchen is often perceived as the domain of women, some might view Apaloo’s choice to branch into catering as unusual. He dismisses such comments with a laugh. According to him, “Skills aren’t gendered. You don’t have to be a man to be a doctor or a woman to cook. Culinary skills are about artistry and individual talent.”

Named after his beloved grandmother, Villa Grace celebrates her painstakingly meticulous approach to entertaining. Apaloo credits his appreciation for presentation, excellence, and natural ingredients to time spent following his grandmother around the kitchen and garden growing up. “I saw the love and the care she put into the food she made, and at a young age, I made the connection between effort and product when it comes to food,” he says.
For Apaloo, brunch is not just about food, but also an opportunity for friends and laughter.

Having lived in Miami, the land of boozy brunches, the self-described gastronomist keeps the champagne flowing at most events. Moët & Chandon, one of the world’s largest champagne houses, sponsored Villa Grace’s most recent pop-up, “Endless Summer by Fred Apaloo.”

Now, Villa Grace has over four public brunches under its belt, and a burgeoning clientele of private catering clients. Down the road, Apaloo sees additional room for growth. “The Villa Grace concept is ultimately a boutique restaurant – a home-away-from-home space with good food, good company, and good laughs. Our pop-up dining series is paving the road for that.”

While Villa Grace’s price tag ($80 to $100) may be out of the reach of most locals, Accra’s rapidly rising middle class may deem the luxury of experiential dining well worth the cost. As Ghana’s food industry continues to grow, Villa Grace is poised to take over and re-define fine dining, Africa-style.

Follow Villa Grace on Instagram to see some of Apaloo’s work and to learn more about upcoming events.

Afropreneurs: Mozambique’s Celmira Amade Celebrates the Natural Beauty of Melanin-Rich Skin with TSAKA (OkayAfrica)

My newest contribution to Okayafrica's Afropreneurs series -- Mozambican skincare line TSAKA. Learn about how entrepreneur Celmira Amade is making waves in the beauty industry by disrupting the market for women of color.

If there’s one thing England is famous for, it’s the country’s cool, rainy weather. Mozambican entrepreneur Celmira Amade discovered that the hard way when she moved to London to study international business.

“I was born and raised in Mozambique, where it was summer year-round. Winter for us is 22 degrees Celsius—a summer day in the U.K.,” she says. “When I moved, I started getting dry skin and blemishes. No skincare products worked. The only thing I could do to manage the changes was wear makeup because that was all that was available in mainstream stores.”

Frustrated at these temporary solutions, Amade began using her grandmother’s Mozambican skincare recipes handed down through generations of her family. After studying entrepreneurship at Cambridge’s Judge Business School, Amade began to consider turning her pet project into a full-fledged venture. Today, she is taking her family’s beauty secrets to the masses through new vegan skincare line—TSAKA. Meaning happiness in Mozambique’s Ronga dialect, TSAKA celebrates the natural beauty of melanin-rich skin.

“There has been very little change in the mainstream beauty market to address the needs of people with melanin-rich skin. While there has been some evolution in availability of makeup and hair care, skincare continues to lag behind,” Amade says.

TSAKA plans to fill that gap by developing an internationally-recognized inclusive beauty brand. In recent years, African beauty ingredients like shea butter and marula oil have gotten their fair share of hype. TSAKA hopes to add a new addition to that mix: Olacaceae extract. The flowering plants are only found in Mozambique, Zimbabwe and Madagascar, and have anti-inflammatory properties that can help fight hyper pigmentation. In TSAKA’s signature face mask, the natural ingredient not only detoxifies the skin, but also minimizes blemishes. Launched in 2016, the beauty line is the first in the U.K. to exclusively use Olacaceae extract.

“I wanted to do something that created a community, and helped improve people’s self-image without changing it,” Amade says. “You don’t need makeup to look beautiful. There are simple ways you can enhance your natural beauty.”

From ingredients to application, simplicity is at the core of TSAKA’s ethos. To use the face mask, Amade recommends sprinkling some of the powder with a teaspoon of water before applying to the face for half-an hour. With a preservative-free formula, the mask can be a component of any beauty routine.

The formulation isn’t the only African feature—the brand’s gorgeous, colorful packaging also celebrates its roots through symbols and colors on its ankara-inspired lids. Yellow and brown symbolize the wealth of TSAKA’s active, natural ingredients, and purple highlights the premium nature of its products. Infinity symbols signify unlimited potential while four hearts represent a love of Mother Nature.

For now Amade is concentrating on building buzz about the face mask, but don’t rule out additional TSAKA products in the near future. “We may launch a face serum sometime soon as a next step in our skin care regime. Our face mask deep cleans and detoxifies the skin, but the serum will help restore moisture and leave you glowing.”

Highlights of 1:54 Contemporary African Fair London 2016 (OkayAfrica)

One of my favorite events every year is 1:54 Contemporary Art Fair. With London and New York editions, the fair is promoting the work of artists and galleries across the continent and diaspora. I shared a few of my highlights of 1:54's London 2016 edition with Okayafrica. You can check them out below or on the Okayafrica website. 

The fourth edition of 1:54 Contemporary African Art Fair brings together over 40 exhibitors from 18 countries to showcase a diverse range of contemporary work by leading artists from the continent and diaspora. Named after the 54 countries of Africa, the ambitious fair will shine a spotlight on African art at Somerset House, the majestic Tudor palace overlooking the Thames.

Following a well-attended symposium at New York’s Armory Show earlier this year, 1:54 is poised for strong sales. With over a third of the galleries at this year’s fair exhibiting for the first time, collectors and art enthusiasts at 1:54 will enjoy a three-day celebration of African artists at the vanguard of their disciplines.

FORUM, the fair’s extensive series of talks and events, will once again run alongside the fair, and will bring together artists, exhibitors, and cultural critics to explore convergences across artistic and cultural production.

Below, we share our favorite highlights of this weekend’s 1:54 London:

1. “Black and Blue: The Invisible Man and the Masque of Blackness,” Zak Ové

As you enter Somerset House’s stately courtyard, you’ll find Irish-Trinidadian artist Zak Ové’s army of 40 two meter high black graphite statues standing guard amongst the foundations. The son of acclaimed filmmaker Horace Ové, Zak Ové originally trained in film and photography, before branching into sculpture following a residency at Caribbean Contemporary Art in 2007.

The “invisible men” standing guard both recall Ralph Ellison’s classic and harken back to the famed Yoruba masks that mark the aesthetic of the cool. The installation, also a commentary on power, beauty, and identity, references a play written by Ben Jonson and enacted by Anne of Denmark and her court ladies, painted in blackface, in the courtyard of Whitehall Palace in 1605. The play reflected a shift from earlier appreciation of black beauty to a preference for lighter skin in the 17th century. In reclaiming the name of the play and situating his army in the neoclassical palace, Ové affirms that black lives matter.

2. The First UK solo exhibition of Malian photographer Malick Sidibe (1936 – 2016)

The fair’s crown jewel, although not for sale, is “Malick Sidibé: The Eye of Modern Mali,” an exhibition presented by 1:54 in collaboration with MAGNIN-A. Located in the main hall, the stunning 45 black-and-white photographs celebrate the jubilance of post-independence Mali. Known as the “eye of Bamako,” the late artist gained a formidable international following as one of the fathers of African photography, subverting narratives through spontaneous images of Bamakois dancing and modernist studio portraits of the city’s youth.

3. Nando’s Exhibition in Collaboration with Yellowwoods Art

As you enjoy your delicious peri-peri chicken on your next trip to Nando’s, stop to look at the art. The South African chain, which owns over 1,000 restaurants in 30 countries, is also home of the world’s largest private collection of Southern African art. Founded in 1987, Nando’s has been working with artists since 2002 through a close partnership with Cape Town-based Yellowwoods Art, a firm specializing in creating opportunities for budding South African talent. At 1:54, Nando’s and Yellowwoods present a few of the artists that feature in their UK collection. Stop by to see works by Regi Bardavid, Lizette Chirrime, Pat Mautloa, and Maurice Mbikayi.

4. “PASSAGE,” Alexandra Karakashian

At this year’s fair, Alexandra Karakashian will create a site-specific installation entitled“PASSAGE.” The piece, much like much of Karakashian’s practice, draws from her family’s experience escaping the Armenian genocide and migrating through Africa before settling in Johannesburg. Through oil and paper designs, Karakashian reflects on issues at the forefront of exile, migration, and the environment, issues at the heart of today’s Euro-African relations.

5. 1:54 Lounge

The 1:54 Lounge and Bookshop are not only an opportunity to relax and reflect, but to see how designers are pushing the boundaries of functional art. This year, designer Ifeanyi Oganwu (Expand Design Ltd.), visual artist Phoebe Boswell, and textile design firm Toghal have collaborated to create forty unique stools and cushions. A modernist take on the traditional stools common across West Africa, the contemporary work, entitled “Pedestal + Duniake,” also celebrates East African culture by drawing inspiration from the traditional Swahili kanga. In addition to the interior spaces of the 1:54 lounge, Toghal has also collaborated with designerLulu Kitololo to create a collection of cushions that will be positioned on a number of Somerset House’s terraces. Draw some inspiration from the bold designs of the collection, which is up for sale during and following the event.

Afropreneurs: Essie Bartels Aims to Be West Africa’s Premier Culinary Ambassador with Essiespice (OkayAfrica)

In perhaps what is one of the pinnacles of my journey as a foodie, I interviewed my friend Essie Bartels, the spice mixologist behind Essiespice, for Okayafrica's Afropreneur series. Check it out here or below. 

After living on three continents and traveling across 25 countries, there’s one place where Essie Bartels has always felt at home—the kitchen.

Growing up, she helped her mother and grandmother with dinner, and developed her own stovetop experiments for her father, who graded her on a scale from 1 to 10. “There were a lot of “9’s” and “10’s,” but every so often I’d get a “5,” which only made me try harder,” she laughs.

When she moved to the United States to attend college, she continued cooking for friends who soon encouraged her to think of starting her own business. But with only a little bit of capital, she wondered what to do. “I didn’t see myself having a restaurant, but I did see a gap in the market for spices and other condiments,” she says. “I already pre-made sauces at home to make cooking easier for myself, so launching a spice company seemed like the logical way to enter the food market.”

Essiespice, her eponymous spices and sauces brand, launched in 2013 following two years of researching and refining recipes. Today, the company has four signature multi-purpose blends:Tamarind Oh!, CoCo-for-Garlic, Mekko Dry Rub, and Mango Chili Medley, its bestseller.

Fresh ingredients for the product line are sourced from produce distributors in the Tri-State Area in effort to support local business and reduce Essiespice’s carbon footprint. The uniquely African spice blends come directly from a businesswoman named Hajia Limata in Makola, Accra’s sprawling open-air market.

In two years, demand for Essiespice has doubled as big-box grocery stores like Whole Foods and Shoprite take notice. But it’s been hard to meet demand with limited resources.

“Essiespice is a labor of love—I depend on my family and friends to help me on production days,” the spice mixologist says. “We rent out an industrial kitchen and get to chopping and blending to produce the deliciousness that is Essiespice, but it’s hard to meet demand because production is contingent on their schedules.”

Earlier this year, Bartels lost her corporate job. While transitioning to working on Essiespice without the cushion of a full-time salary may have been daunting, the shift turned out to be a blessing in disguise. “Since losing my job, I finally have the time, patience, and energy to fully devote myself to nurturing my brand. No one can be a better advocate for your business than you can—especially at the early stages of a company,” she says.

Now, to help take her business to the next level, she launched an Indiegogo campaign to raise $48,000 to expand production, staff, and research and development. The campaign features a wide range of rewards that give a preview of future Essiespice products: hand-stitched aprons made with Malian Bogolan fabric and brass Adinkra symbols, pottery made from red earth sourced in Kumasi, Ghana and even cooking classes with Essie herself.

In the next few years, she also hopes to expand her product line to include signature Essiespice milks, nuts, butters, and oils inspired by the flavors of Africa and its diaspora. She’s also in talks with farmers in Ghana’s Northern Region to introduce ancient grains like millet, sorghum, and fonio, which have high nutritional value, but aren’t widely available in global markets.

With endorsements from culinary heavy hitters including Pierre Thiam, Africa’s leading celebrity chef, and support from Nyema Tubman, President of Sundial Brands—the makers of crowd favorites Shea Moisture and Nubian Heritage—Bartels aims to be one of West Africa’s premier culinary ambassadors.

“African food isn’t visible enough on the global stage,” she says. “Our voices aren’t heard, so I want to contribute to that conversation so that things like millet and dawa dawa are recognizable in the same way as spaghetti or curry powder. Many studies have shown that West Africans have some of the healthiest diets in the world, so we should see our food represented more on television and in magazines.”

Exclusive Interview with Ethiopian Marathon Runner in Exile, Feyisa Lilesa (OkayAfrica)

Original article can be found on the Okayafrica website.

As he enters the ballroom of a tiny Washington hotel with his wrists crossed in an “X,” Feyisa Lilesa, Ethiopian marathon runner, Olympic silver medalist, and now, political exile, is welcomed with a burst of applause from Ethiopians present.

Lilesa made international headlines last month when he crossed the finish line with hands raised in the “X”—a gesture common among the protesters in Oromia—a region in Ethiopia where hundreds have recently been killed by government security forces. Although the Oromo are Ethiopia’s largest ethnic group, they have been historically marginalized from political power. In recent months, tensions have risen as a government development has taken over Oromo farmland.

For such a small gesture, it had a big effect. Lilesa’s audacious protest on the world’s biggest stage was a plea to the international community to acknowledge the Ethiopian government’s persecution of the Oromo ethnic group. Now, in Washington, he is in the midst of a media blitzas he demands the world’s attention.

But his actions do not come without a steep cost: he leaves behind his wife, five-year-old son and three-year-old daughter in Ethiopia, and risks death or imprisonment if he returns home. Now an indefinite political exile, Lilesa has come to the United States on a special skills visa to allow him to train and compete.

Okayafrica spoke to Lilesa through an interpreter about the plight of the Oromo, and his mission to keep fighting oppression in Ethiopia.

Akinyi Ochieng for Okayafrica: When did you first decide you would protest the Ethiopian government’s actions at the Olympics? Were you afraid of the consequences?

Feyisa Lilesa: Three months before the Olympics, the Ethiopian Sports Federation selected the finalists. Once I became a finalist, I decided to use the opportunity—when I would have millions of eyes watching me—to protest.

As I prepared to go to Rio, my legs were running, but my mind was also racing as I thought about all the killing and suffering around me. But I did not feel any fear because I knew it was the right thing to do.

Have your family or friends been affected by the violence in Oromia?

I have relatives that have been imprisoned, and a friend who was recently killed when a prison housing opposition activists was burned on the outskirts of Addis Ababa earlier this month. I can’t even count on two hands how many people I know who have been impacted by the oppression of the government.

Was your family supportive of your choice to protest at the Olympics?

They didn’t know what I was going to do. If they did, they probably would have stopped me. And it’s likely I would have been swayed by their pleas.

Tensions in Oromia have simmered for years and have come to a head with recent clashes between government security forces and Oromo civilians. In your opinion, what’s the root of these protests?

Oromos have been oppressed for decades. Their land has been taken from them without compensation. They have no control over their resources. They have no voice. Many have left their homes to seek refuge in other countries, and have died trying to cross the Mediterranean.

If this situation continues, I have no doubt that Ethiopia is staring into the abyss and faces a future of tragedy. The potential for ethnic conflict to erupt grows each days and could echo
All we want is for our human rights to be respected like anyone in any other nation.

The Ethiopian government says you’ll be welcomed home. You’ve voiced concerns that you’ll be killed or imprisoned. Why don’t you believe them?

The Ethiopian government just wants to save face in the international community. Time and time again, they do one thing and say something else. For that reason, I don’t trust them. They’ve killed people for doing just what I did.

In Libya, Gadaffi didn’t kill as many people as the government has killed in Ethiopia, yet the international community rushed in to save the Libyans and has been silent in Ethiopia. Even if they don’t know the details, they must have some basic knowledge—must have witnessed the protests carried out by the members of the diaspora.

When’s the next time you hope to see your family?

It’s still a whirlwind at the moment. I’m still trying to figure out what’s next. I just got my visa, but I’m hoping to go back to training.

The protests are increasing in intensity with each passing day, and the people are raising their voices louder, so I believe that the government may fall soon and I may soon be able to go home to my family.

The current constitution is actually a great constitution. The problem is that nothing in it is protected. If the people actually had power and the corrupt government was to collapse, Ethiopia could be a very strong economy and be wealthy. Ethiopia is known to the world as a poor nation, but it doesn’t have to be that way.

Why did you decide to pursue a special skills visa instead of seeking asylum?

What I wanted is freedom. Here in the United States I am safe and able to use my running skills to earn a living through competition. As long as I have a visa that enables me to work, I don’t see a reason to seek asylum. I love my country and I look forward to going home once there is freedom and change.