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Making Africa a Continent of Contemporary Design

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Making Africa a Continent of Contemporary Design Making Africa A Continent of Contemporary Design Vitra Design Museum Olalekan Jeyifous [vigilism.com], Idumota Market (Escape to New Lagos series), illustration for the lookbook of the Ikire Jones Heritage Men’s Fashion Collection, 2013 Cover: Cyrus Kabiru, African Stitches (C-Stunners Series), 2010 * Africa in 50 Years’ Time. The Road Towards Inclusive Growth, African Development Bank, September 2011 Making Africa A Continent of Contemporary Design It’s time to move on from talk of the so-called perspective. Instead of addressing the theme from the angle »Dark Continent«. A major exhibition by the Vitra of recycling, humanitarian design or traditional craft – an Design Museum sheds new light on contemporary approach that typically ties in with the image of a »failed« design in Africa. On the basis of a wide variety of continent – the exhibition is focusing instead on the role played examples, Making Africa shows how design is ac- by design as a tool for a new identity and hence a new future companying – and even promoting – economic and for Africa. With works that often transcend genre categories, political change on the continent and engaging in a young generation of designers and creative minds is quite a close dialogue with related disciplines, such as the literally building a new Africa. fine arts, illustration, film, photography, architec- Evidently, a German museum cannot tackle this theme on its ture and urban planning. A central role is played own. Early on in the project, Vitra Design Museum convened by the new media, which made this shift in perspec- an advisory body of proven experts: the consulting curator of tive possible in the first place. After its premiere the exhibition is Okwui Enwezor, director of Haus der Kunst at the Vitra Design Museum in 2015, the exhibition in Munich and director of the 2015 Venice Art Biennale. Ad- will travel to a number of other museums. ditionally, the exhibition’s advisory board is made up of the architect David Adjaye, founder of Adjaye Associates in When media and international organizations discuss the London and architect of the Smithsonian African American upturn in Africa, they typically refer to the dynamic economy, Museum in Washington D.C.; and Manuel Herz, an architect which is developing at a faster pace on the continent than in based in Basel and lecturer at ETH Zurich who is currently the rest of the world. Or they talk about the steeply rising working with the photographer Iwan Baan on a comprehen- middle class, which should encompass some 1.1 billion Africans sive study of late modern architecture in Africa. by 2060, compared to around 355 million today.* Yet the An integral part of Making Africa is the process leading upswing is also evident in the 650 million mobile phones reg- up to the exhibition. It entails multiple think tanks in African istered in Africa – more than in the USA and in Europe. Most cities as well as places with important African communities of these devices have at least minimal access to the Internet, such as Paris or London in which numerous theorists and and this gateway to the world is fundamental to the economic, practitioners from various cultural disciplines are involved in political and creative transformations in Africa. developing the exhibition. A key role is played here by social Spearheading this development is a young generation of media. Via Twitter, Facebook and other platforms, the Vitra entrepreneurs, thinkers and creators who refuse to be held Design Museum will invite the African public to take part in back by limited resources and possibilities, but use them the curatorial process. Networks are to be established that as a source for inventive and ingenious new solutions. With will remain in place for exhibition-related communication, their confident, self-assured approach to new media, they education and events throughout the entire exhibition tour – have attained a presence that provides the world with a and beyond – and forge permanent links between the African wholly new view of Africa. Making Africa embraces this new design community and the international scene. Mário Macilau, Alito, The Guy With Style (Moments of Transition series), 2013 Mia Widlake, 12 plate Skeleton series of dinnerware, 2012 Yaw Tony, Lover’s Talk, textile printing, 2013 Concept Making Africa is divided into four sections. The first With this approach, Making Africa is adhering to a current is a prologue that puts the exhibition in context. understanding of design that is only peripherally related to It will explain what it means when we talk about conventional definitions of the field. In today’s world – and Africa or African design. At the same time, this pre- not just in Africa – design is much more than the creation of liminary section seeks to confront viewers with industrially manufactured products; it shapes processes, social their own images of Africa – both negative and pos- interactions, urban environments and branches of industry. For itive – and invite them to discover and embrace the Making Africa project, the definition of design is an open new perspectives. The exhibition will then turn to its one, less focused on distinctions and demarcations and more core theme: Making Africa. The thematic leitmotif is interested in the overlap with neighbouring disciplines, such as the concept of identity, which lies at the heart of craft and fine art. »The blurring of categories allows the quality discussions about creating a new Africa. Who or of design to emerge«, wrote the renowned German design what is this Africa that is to emerge? Which sources theorist Michael Erlhoff. This applies to industrialized nations feed into the new conception of design, how does where the conventional definitions of design have long been it link the big-picture perspective of a continent questioned in view of growing mountains of waste, the digital in transformation with the everyday lives of its revolution and an ever more sizable share economy. And this is inhabitants? all the more true in Africa where neither the production nor the education systems provide the traditional conditions for what The exhibition contains a wide variety of media and exhibition Europeans defined as design a hundred years ago. objects: products, furniture, architectural models, installations, The cultural history foundation of Making Africa comes from sketches, drawings, plans, posters, illustrations, typography, a retrospective look at early postcolonial Africa. Back in the infographics, photographs, magazines, books, textiles, fashion, 1960s, photographers such as Seydou Keïta and Malick smartphone apps, websites, social media platforms, computer Sidibé or the South African magazine Drum showed a conti- games, feature and documentary films, music videos and nent beyond wars, crises and catastrophes. The architecture much more. The breakdown into four chapters makes it possible produced during those initial years of independence also to juxtapose examples from different disciplines, highlighting symbolized the onset of a new era and self-confidence that intellectual and conceptual parallels and developing a com- became lost over the following decades. These historical plex narrative structure as befits a theme of this breadth. documents run through the entire exhibition where they will Along these lines, a computer game could well be paired be systematically paired with contemporary works. These with a tree house, and a documentary photo series on every- comparisons demonstrate how the young generation often day objects might be placed next to a spectacular one-off consciously refers to this early body of work and makes a link textile design. to the positive sentiment of this past era. 1 Prologue »Until lions have their own historians, tales of the hunt shall always glorify the hunters.« West African proverb The first section lays the foundation for the entire The screens and infographics will be complemented by oth- exhibition and places the show in context. Tradi- er works such as the map Alkebu-lan 1260 AH by Nikolaj tional preconceptions are called into question and Cyon. It shows what Africa would have looked like around areas of lacking knowledge are identified. This 1850 had it not been colonialized by Europe. In so doing, it introduction also seeks to demonstrate how the literally turns the continent on its head – at least from a west- design of information itself is simultaneously an ern perspective. A similar idea led to a 2001 advertising cam- instrument of interpretation and influence and paign for the fashion label Diesel. The images document an how Africa-related information design tends to African jet-set and their lavishly decadent lifestyle, superim- fall back on clichés. A new generation of media posed with clips from the fictional newspaper The Daily designers is attempting to address and transcend African featuring such headlines as »AU agrees on financial such stereotypes. aid to Europe«. The work of the Kenyan Cyrus Kabiru will also play a central role. His C-Stunners, glasses made of found In response to this situation, the Vitra Design Museum is plan- materials, are a compelling metaphor for the shift in perspec- ning a project with the ZIVA – Zimbabwe Institute of Vigital Arts tive that Making Africa demands of its visitors. (»vigital« for »visual« and »digital«), a college of graphic design The many voices, facts and figures are meant to encourage in Harare. Infographics will be created especially for the exhibi- visitors to question the current images of the continent. First tion – some of them interactive – to visualize Africa geographi- and foremost, however, they should emphasize that there cally, historically, politically, demographically, economically is not »one Africa«, just as there is no such thing as »the and culturally as well as to illustrate the technological change African« or »African design«. Rather, as suggested by the occurring on the continent. In addition, the relationship of de- exhibition’s title, each individual designer makes his or her sign and knowledge about Africa will be highlighted by a wall own Africa, as do the individual speakers presented on the with numerous screens showing interviews and talks by and with screens.
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