start A Critical Art Journal

Issue No. 001 | October - December 2007

1 Foreword

Dear art lovers and art lovers to be,

I am very pleased to have been asked by the Arts Trust, representing Ugandan artists, to introduce the first edition of the Journal St.ART.

As German Ambassador to Uganda it is a privilege for me to promote cultural exchange between Uganda and Germany. I am delighted to see the Ugandan art scene so pluralistic and active. I discovered impressive Ugandan paintings and sculptures, music and dance performances in different styles, traditional as well as modern. It seems that Ugandans can draw on unlimited artistic sources. This makes cultural exchange very easy, because in Germany, too, art scene is very alive.

Art lives from being seen and admired. This seems to be the biggest challenge that the Ugandan painters and sculptors have to face. Too few Ugandans get a chance to see the works and performances of artists and hence do not get an emotional and intellectual access to them.

The Ugandan painters and sculptors have developed innovating ideas to change this situation. In May 2007, backed by the Ugandan German Cultural Society (UGCS), they organized a street festival in Kamwokya. There, not only they presented a huge variety of artistic activities, but visitors were invited to take an active part and create pieces of art together with artists. You can learn more on this festival in this issue of “St. ART”.

I welcome the courage of the editors of “START” to start this magazine for art lovers. I do hope and I wish that it will get many readers. Ugandan art merits to get more attention.

Reinhard Buchholz German Ambassador to Uganda

Embassy of the Federal Republic of Germany Kampala

* This issue has been supported by Germnan Embassy, Kampala

2 Editorial

Rachel Scheier Henry Mzili Mujunga Xenson Daudi Karungi Editor Content Coordinator Photography Production & Distribution

hat should the role of In this first issue, founders Daudi schools on the continent. We also W today’s artists be in their Karungi and Henry Mzili Mujunga pay a visit to the Mona Studio in communities? How can African talk about the success of the recent Kamwokya, where local artists are artists help to make their cities “pothole art” produced during La pioneering a new kind of inner city more beautiful? Why don’t Ba “street art” festival in Kampala art studio. Ugandans like Ugandan art? Until and the role of public art as a way now, the questions that linger in to promote the visual arts in African We at StART believe that the the corners of Kampala’s disparate cities and make art more accessible creative efforts of Ugandans— art scene were for debate in to local residents. We talk with be they painters, musicians or makeshift studios or over beers in Maria Naita, perhaps Kampala’s dancers—play a key role in our favorite watering holes. With this premier sculptress; Mzili reflects country’s past and future. We aim new publication—the first ever art on the identity politics of being to provide a community of ideas and culture criticism and opinion an artist in Africa today and Dean for these artists. We welcome your journal in Uganda—we aim to George Kyeyune gives us the history input and contributions. Enjoy! provide a forum of ideas for the of ’s Margaret Trowell dynamic contemporary art scene in School of Industrial and Fine The Editors Kampala and beyond. Art—one of the most venerable art

Content Issue 001 | 24 Pages | October - December 2007 4 Free Expression 17 Margaret Trowel An African Artist Ponders his Place in the “Western” Tradition Makerere’s Reknown Art School through the Years 6 Pothole Perspectives 20 Art Oasis Wonderful things happening at Mona Studios 10 Sculpture isn’t a man’s job Taga Nuwagaba talks to one of Kampala’s premier sculptors Maria Naita 23 Poetic Justice Poetry 13 Dark to Light Technique A Demonstration of the Printmaking Technique

* Cover picture: Acrylic on canvas, Peacemaker by Daudi

3 Free expression An African Artist Ponders his Place in the “Western” Tradition

By Henry Mzili Mujunga

he enslavement of the African T has persisted despite his desire for the liberties of capitalism. The oppressor and his kindred have continued to spread their greedy tentacles to squelch any outcroppings of resistance.

We cannot breathe the fresh air of liberty because the clever chameleon > African jewellery > African architecture: Grass-thatched hut changes its shade. All the strings I try to tie between art practice in the One would be quick to assume that art is the last frontier of resistance West and my Kiganda experience are loosened by the to this form of suppression and fact that art, as we practice it today, is irrelevant and dominance. Art, after all, is what really defines a people’s existence. redundant to my people. When I behold my brothers (I have about a new way of doing art, I facets single handedly without no sisters in this struggle) and myself have ended up evoking the spirit of acknowledging the contribution producing meaningless pieces of a European artist from the past! from Africa and Oceania. decoration for the oppressor and I know of an artist from his disguised agents, I cannot help The dilemma is too deep to plug. Mozambique popularly known but confirm, albeit fearfully, that To define art from my tribal as the Picasso of Africa. Oh yes! I the African artist has provided perspective is next to impossible. I also know a young man from South the ever-changing chameleon yet have not come across a verb in my Africa (originally from Kenya) who another hue in its many-colored language that accurately describes has carved himself a niche as the coat. my profession. All the strings I try van Gogh of Africa! How I wish to tie between art practice in the someone would start calling me As an ardent agent of meaningless West and my Kiganda experience names too! Maybe then I would get labour, I have continued to explore are loosened by the fact that art, as to show in the popular galleries and the gist of creativity without actually we practice it today, is irrelevant museums in Europe and America S creating under the guise of abstract and redundant to my people. expressionism.

(A monkey can do little else but The oppressor has evolved modern ape.) Every time I have thought art through all its fundament

4 ..To define art from my tribal perspective is next to impossible.

5 Pothole Perspectives By Rachel Scheier Henry Mzili Mujunga, one of the current crop of acclaimed young artists who has emerged out of Kampala recently, was driving through town one day in his Toyota Carib when he literally stumbled into inspiration.

Like every other motorist in the Ugandan capital, Mzili is intimately acquainted with one particularly yawning crater out of the dozens that regularly plague him on his route to work each day. That morning, he winced at the sound as the walls of his pothole—suddenly somehow sharper and more crumbly than the day before— scraped against the bowels of his vehicle. He cursed himself for allowing his artistic reverie to distract him from watching the road. And then it hit him.

“I had been searching for a personal statement that could catch the attention of the public,” Mzili said recently. “Potholes command such attention in Kampala that whoever you are, whatever you’re driving, your eyes are always a few meters ahead.”

This was early in the year, during election season, and a newly elected Mayor Nasser Sebaggala had excited the press by making a lot of heady promises about fixing city roads. Also, it had been raining. “I think a truck fell into one,” Mzili recalled. There were the usual

newspaper cartoons depicting > Children Painting: Young Atal

6 By Rachel Scheier Ugandans crossing the potholes in Uganda German Cultural Society > Breakdance Project performance boats. and the Uganda Artists Alliance, the May event featured booths “I realized that these…holes in the with works by local artists, live roads are actually an important musicians and an auction to raise symbol for people,” he said. What money for a proposed Uganda they stand for is poverty and lack Museum of Modern Art, a dream of infrastructure, for starters. But of Mzili’s and a handful of other what potholes mean most of all to local artists. And of course, there ordinary Ugandans is, of course, was pothole painting. corruption; the flagrant robbery by so-called leaders of public funds Mzili, having decided that his meant for such basic services as middle-of-the-night pothole keeping up the roads. painting might arouse the attention of the police (“I have a job and Initially, Mzili’s conceived of a sort a family,” he said, somewhat of commando public art installation > Guests painting potholes at the festival apologetically,) settled for instead that explored the concept of illusion lending his theme to the event. (something about christo?). “I He and several other local artists thought I’d come in and fill and filled potholes on Street in paint over the potholes at night,” he Kamochya with a mixture of cement explained. “Then the next morning and plaster and then painted them. people would still have the feeling Not surprisingly, many had political that they were driving into potholes, themes. but they wouldn’t be there.” The potholes are now the centerpiece Mzili was also inspired by the of an exhibition at UGCS called “A shapes and dimensions of the Pot in the Hole.” Director Roberta potholes themselves, some of Wagner called the festival and the which, he pointed out, were exbition an effort “to create new quite interesting. “I was trying places for artists to show their to interpret this infrastructural work and show people in Uganda hazard and turn it into something that art is part of life.” pleasing,” he said. “As an artist, I continued on next page > always try to perceive beauty in > Fashion show at LABA Festival. ugliness.”

Fittingly, then, what Mzili’s pothole idea morphed into wasn’t a “Potholes command such attention in Kampala that vigilante art project in the end but whoever you are, whatever you’re driving, your a first of its kind in Kampala street art festival. A collaboration of the eyes are always a few meters ahead.”

7 > A performance by Fonkodelic at the festival

> Exhibitor: Margaret Nagawa > Auction items

> from previous page awareness of drawing on a Picasso- Karungi, a painter and proprietor With that she touched on the esque tradition largly borrowed of Afriart Gallery in the Logogo real point of the street festival— orginally from Africa in the first Showgrounds who was among the which was called “La Ba”—“To place—who have in turn opened organizers of the street festival. See” and the pothole project and galleries, shown around the world “We need to interest Ugandans in perhaps public art in general, and produced a vibrant array of appreciating our work. We have to which is to try to interest ordinary galleries in Kampala. Trouble is, show them that art is not something people in art. In Uganda, that is a they are mainly patronized by academic.” particular challenge: The country, foreigners. like others on the continent, has “I think we have all begun to The obvious problem, of course, is produced a fleet of up-and-coming realize that the mzungu market that most Ugandans can’t afford to contemporary artists in recent is really pretty small,” said Daudi buy art. On the other hand, local years—many with a postmodernist

8 > A finished pothole sculpture on exhibition at UGCS

artists complain that even among by an audience of mostly tourists community,” said Karungi of the upper and middle class Ugandans, and expatriates. They are festival. there is a lack of interest in art determined to find ways to make coming out of their homeland. locally produced visual art more More such events are planned for accessible. They may be making the future. What began as one “If a Ugandan has a million shillings some headway. One of the May artist’s idea for an edgy social art to spend on art, he would rather street festival’s most popular items project evolved into a community spend it on a print from Europe were custom painted t-shirts— party and an art education effort rather than an original work from bought at Owino Market and hand that was public art in the true sense his own country simply because it’s decorated by various artists, who of the word. foreign—probably something he incorporated familiar song lyrics, saw in some rich country’s airport sayings and slang that went for an “Art may not be something known or hotel,” said Karungi. affordable 20,000 shillings. Nearly to Ugandans yet,” said Mzili. “But all of them sold. potholes—those are very familiar But money isn’t the only issue, to them.” S of course. Artists like Mzili and “This evolved from an artistic Karungi are uncomfortable with the statement into a social thing—we idea that their work is appreciated made our presence felt in the

9 Sculpture isn’t a Man’s Job Taga Nuwagaba talks to one of Kampala’s premier sculptors Maria Naita

any collectors like to host Msculpture in their compounds and by the entrance gates. But Maria Naita’s works are too precious for that. Every time I see her work, I feel like rushing it to the most sacred part of house- the bedroom.

Her combination of metal and wood helps Naita achieve remarkable effects. The metal helps create women’s jewelry, and the wood represents the dynamic structure revealing womanhood. Her creations make you feel the presence of life and beauty.

The wonders of her work are the mysterious perforations she creates to form pattern. From a distance, her work looks solid, but as you get closer, you realize that the dark areas are hollow.

Meet Naita as she bares her true colours.

T: What inspires you to do art?

M: The things that inspire me are not extraordinary. I am mainly inspired by things that revolve around me. Women are my specialty. I love the woman’s body and its response towards activities around it. For example, how a

10 woman applies make up, how she a nurse by profession, was not dresses up, how she walks and content with the local schools. So dances, all inspire me. she came to Kampala in the 1940s to work and raise money to educate When I am walking on the street her child in a better school. Her and I meet people, to me it is husband had a different opinion not a crowd. Every person is an but my grand mother forced her independent form, and my job is way into the city with their only to make observation of the selected child, George Lwanga Ssengendo, models and document them in who is my father.He graduated as sculptural form. a surveyor and settled in Kampala where we were born and raised. As we speak now, I am making Mine is a small family of nine; three your study- the behaviour of your boys and six girls. eyes in relation to your mouth and cheeks when you speak. T: Are you single?

T: Sculpture is a difficult medium M: I am happily married to Mr. and in my opinion better suited for Charles Naita with a small family men. As a woman, why did you “... it is not about of four children so far. We live choose to do a man’s job? challenging men but to on Mutundwe hill, a suburb of Kampala and that is where I have M: It is challenging. I like challenges. do something solid and my studio. And it is not about challenging demystify the idea that men but to do something solid and a woman can only do T: When and how did you start to demystify the idea that a woman do art? can only do menial labour. That menial labour.” idea is obsolete and more women M: I started way back when I should come out and handle these was so little, I cannot say which challenges to defeat that myth. year. Our mother never believed in T: The female form should attract imported dolls. She would make us male artists. Why is it of interest to her very own from small pieces of you as a woman? cloth and encouraged us to make them ourselves. As we did them, M: As a woman, I feel I can bring I realized that they were flat so I out the forms better than male decided to include things like bums, artists. I do not just depict a woman tummies and even make legs more because I have seen one - I live and round. That got me started. My art, feel womanhood every day of my I think, comes from my mother. life. T: Have you exhibited your work T: Where were you born? outside Uganda?

M: My ancestral home is in Luweero M: Yes! I have exhibited in Kenya district of central Uganda in a small in Gallery Watatu and RAMOMA. village of valleys called Luteete. My I have also exhibited at the Gallery grand mother, Catherine Kigozi, Alizẻz in Brussels, Belgium. I have

All artworks in this article are by Interview continues on page 19> Maria Naita.

11 Technique demonstration by Daudi Karungi

12 Dark

lightTechnique If the plate or block has been worked so it will receive ink in the same way each time it is applied, then there is a matrix and more than one print can be made

ince Henry Mzili Mujunga this is called a matrix. The matrix Sintroduced the dark to light allows more than one print to be technique in printmaking in the made. late 1990s, it has become popular with young artists in Kampala. It Before the electrostatic, inkjet, and has effectively replaced the light other new ways of printing were to dark technique that was made invented for use with computers, popular by Ugandan Fulbright everything was printed in one of scholar, Fred Mutebi. Dark to light only four ways: relief, intaglio, has caught on largely because it stencil and planographic. Each yields intriguing results after the involves a different kind of matrix, first registration. This suits young or ink-holding surface. In relief printmakers who are in a hurry printing (woodcuts), the ink sits to accumulate work and make a on the raised surface of a plate quick buck. or block that has been carved. In intaglio (etching and engraving), Printmaking involves the relatively the ink sits in the grooves cut into simple technique of transferring the surface. In stencil printing (silk ink to paper from another material, screen), there is a hole cut in the usually a metal plate or a wooden Matrix and ink is pushed through block. If the plate or block has been it. In planographic printing worked so it will receive ink in the same way each time it is applied, continued on next page>

13 > > >

> > .

> from previous page printing ink, a set of rollers (of The matrix is now on top of various sizes) and lots of rags. the paper. Tap on the matrix (lithography), the matrix is flat, and firmly with your clenched fist the printing part is treated to hold 2. The next step is to select a then flip the paper and matrix ink; the other parts to repel it. subject and draw it on the over to have the paper on top. matrix with the marker (you In this study, we shall stick to relief don’t want your drawing to 5. Burnish with a baren, or piece printing using a wooden matrix. disappear after the first print) of folded paper, to register the Traditionally, the wooden matrix then cut out the areas you want image onto the paper. was carved in such a way that the to retain the darkest colour. areas that retained the light colours 6. Carefully peel the paper off the were cut out first. This ensured 3. Mark out in pencil the outline matrix and let it dry. that at the end of the process; only of the matrix on the paper you the white outline of the subject intend to print on and, using You can cut away areas on the remained. an appropriate roller, roll your matrix that you want to retain the darkest color. This is called colour you have just printed and With the dark to light technique, rolling dark. Allow the dark repeat the inking procedure, each the process is the opposite. area to dry over night. time making the subsequent ink Below is a step by step guide lighter. through the dark to light process: 4. Mix ink that is lighter than the one you used in the dark The beauty of printmaking is the 1. The artist should select area (adding yellow or white fact that you can produce as many materials carefully. First, to it can help but you have to copies of a print as you want. A choose a thick paper of a thick be careful not to put too much collection of similar prints is called gauge since a lot of ink is used. as this would create a sharp an edition--one can have an edition A range of paper is available on contrast with the subsequent of 5, 10 or 100 prints. When the the market, though handmade layers of colour). Apply this artist decides to destroy the matrix is best. One also needs a ink on the matrix and register after printing an edition, he has light pencil, marker, a piece (place careful to overlap) it on produced a limited edition S of plywood or woodblock, the dark area on the paper.

14 Eve and Eve by Mzili by and Eve Eve

15 The Administration block at MTSIFA.

16 Margaret Trowel Makerere’s Reknown Art School through the Years By Kyeyune George

n 1937, British painter Margaret The end of civil war in 1986 that I Trowell started informal painting brought PresidentYoweri Museveni classes on her veranda at . to power found Makerere artists They were the humble beginnings fully engaged in an interactive of ’s art school. examination of local life. The By 1940, art had become part of school’s master’s programs were the Makerere curriculum. The reinvigorated to replenish the art school continued to operate as academic staff, which had thinned a department under the faculty drastically after two decades of of arts until 1952, when it linked political turmoil and war. This also with the Slide School in London, encouraged research that expressly which allowed it a degree of addressed the prevailing local and independence. An autonomous international market demands. institution, the Makerere art school offered its first diplomas in 1957. These developments strengthened Degree courses were introduced in the art school to apply for faculty 1969. status, which was granted in 1995 with three departments: sculpture For years the only place in the east and drawing, painting and art and central African region where history and industrial art and a higher education in art was design. With that the name also offered, Makerere’s art school has changed to the Margaret Trowell provided professional art training School of Industrial and Fine Arts. in painting, sculpture, graphic design and printmaking. These The transfer was a major were the standard art courses milestone for the school and from until the turbulent 1970’s under that time, student as well as staff Idi Amin and Obote’s second numbers increased drastically. government in the early 1980s The challenges of attracting and constrained their delivery. With retaining quality staff for the imported art materials becoming enlarged school became apparent. scarce and expensive, the school Although the school has produced was forced to make do with locally just six PhDs in the last 60 years of available substitutes. Interestingly, its existence, seven members of staff though, this forced reliance on are currently pursuing their PhDs local resources resulted for a closer at Makerere or outside the country. communion between the Makerere Newly introduced courses in such artist and his audience. The subjects as business administration, extraordinary images expressing fashion design, jewelry, furniture disgust for the leaders of the time design, stained glass and underlined this close association. continued on next page >

17 > from previous page

“The end of civil war computer-aided design as well as have been given skills to improve the traditional mainstream courses their products as well as use them in 1986 that brought are set to make the school grow in as channels of communication on President Yoweri strength and substance. As a way HIV/AIDS. Museveni to power found of enabling students to relate their academic tasks to the labor market, While all these developments Makerere artists fully they undergo industrial training represent progress for the school, engaged in an interactive in their second year. Graduates it faces challenges. Space has not examination of local life.” are assured of a qualification that expanded to match the increasing prepares them to work in the number of courses and students, emerging but ever changing local which has put a strain on service and international market. delivery. MITSIFA also needs to commit large sums of money to The school has been internationally replace obsolete equipment S recognized by external examiners, as well as collaboration with George Kyeyune is the dean of the Margaret outside universities. For example, Trowell School of Industrial and Fine Arts at Makerere University. the school has had a long standing link with Middlesex University in the United Kingdom. A current one year project titled “Design, Health and Community,”a partnership between the Makerere school, North Umbra University in the United Kingdom and Durban University of Technology in South Africa, involves rural crafts women who

Ceramics and jewellery making (above).

18 > from page 11 the world. It is an excellent medium to day life can be immortalized of expression. If the Ugandan through art for posterity. Visitors government gave a bit of attention to who have no clue about Uganda also exhibited in Bulawayo and art and used it properly, politicians can also benefit from it. Harare in Zimbabwe. and leaders would find it easy to tell the world how beautiful this All countries have treasured their T: Congratulation Naita! How country is instead of labouring with culture and heritage in an art relevant is your art to Uganda? longwinded political speeches. package. Uganda needs to do the same- in fact we are very late. We M: Uganda is one country many If visits abroad were crowned are in fact lucky to have gorillas and people in the world have never with art exhibitions, art would a country with awesome beauty. heard of. The few that have, only have an impact on tourism which is Short of that, we would not have a mention Amin and recently HIV- becoming a big income earner for lot to show visitors. AIDS. What an ugly representation Uganda. of this country! Uganda is such T: What problems do you find in a beautiful country that does not Many people have a negative attitude your career? deserve that. It needs more positive towards art. This is ignorance and images to give it the façade it it hurts to see that government is M: Being a wife, mother and deserves. not using us effectively. We are the artist working at home is a very sleeping giants! challenging situation. My husband My work and that of other artists needs attention; the kids need to should do this job of changing About the relevance of art in Uganda, play with me. Pregnancy, cooking Uganda’s image abroad. I will simply tell you that art is one and running the home make of the ways in which a society’s creating time for art hard. Some You see, art unlike many other culture can be documented. Our times I get torn apart! S professions, speaks all languages in history, our heritage and our day

19 ART OASIS Wonderful things are happening at Mona Studio

t is market day in the Kampala I suburb of Kamwokya and as I make my way through the cul de sac towards Mona studio, I make out American rapper Tupac Shakur blaring from an Indian- made sound system.The mammoth crowd milling a few meters away seems oblivious to the creative activities going on in the iron sheet enclosure.

Anwar Nakibinge, one of the young artists working at this colourful and industrious studio, greets me with a smile. He has just been taking his afternoon siesta and still has the crease marks from the pillow engraved on his cheek.

Mona Studio has now been open for over a year and its fame has spread across expatriate Kampala. Its artists are prolific: Stacks of paintings of different sizes fill the storage room. A visitor to the studio is struck by the bright paintings on the walls of the nearby quarters. Edison Mugalu, the other Mona artist, tells me that the land lady asked him to extend his art beyond the boundaries of his canvases.

Some of the work done on the iron sheet enclosure is experimental and bold; the palette is graphic and

continued on next page >

20 > Mona Artist: Anwar Nakibinge Sadat

21 > Mona Artist: Mugalu Edison > from previous page “everyone is oblivious of the deaf when referring to the relationship between the African figurative. Mona Studio thrives to the artistic treasures artist and his indifferent host on texture and effect. Colour plays community. Indeed, everyone is a harmonizing role rather than a on the other side of the oblivious to the artistic treasures on defining one. The artists seem to market shops.” the other side of the market shops. be obsessed with the female figure and bright, patterned clothes. The But then one must remember the faces are stylized and recall the extensive work Mugalu has done to art on ancient Greek pottery. The looks compartmentalized yet raise HIV-AIDS awareness through long thin noses, thin lips and wide harmonized. public murals. Or his work at eyes seem more Caucasian than Ngoma International Workshop in Bantu. One wonders if Mugalu is Mugalu, on the other hand, has Nakaseke, in central Uganda.There, not subconsciously thinking of his a fiery approach. His work is he taught children to use local clients, who happen to be mostly dominated by hot primary hues. materials to make art. Such projects white, as he makes his quick An expressionist of sorts, Mugalu that consciously incorporate the impasto paintings. seems to be obsessed with silhouetted fishermen in small community contrast starkly with the typical Kampala artist’s tendency to Anwar’s work, on the other hand, canoes seen from the rear view. make superficial incursions into his is a mass of treads and retreads as One senses the evident influence host community for documentary the artist scratches into the thick of European modernists like Paul purposes. I hope that eventually layers of silk vinyl and acrylic Klee as well as the blurred style the Kamwokya marketers and the paint. A typical Anwar picture has of George Kyeyune at Makerere rest of the Mona artists’ neighbors a dark layer, in which he incises University. will embrace them and prevail the outlines of geometric figures upon them to help beautify their and biomorphs. When this dries, The market is almost closing as I environment. Artists ought to be he rolls a lighter layer of primary make my way out of Mona Studio. appreciated for their creative hues on top of it. He finishes with As I walk through the human energy and ability to transform a final layer of tertiary grays and quagmire, I cannot help but think their societies aesthetically S tints of white. The finished work of the Senegalese critic Iba Ndiave Diadji’s reference to a dialogue

22 18-08-1999 What we believe in We believe in the father and not the mother In life everlasting after killing it. Mzili

Chasing the wind How can I ever be strong when I am made of flesh? Firm when I am of wind? I run in the face of danger, I turn my face in another’s hour of need. I am so full of shame for life is but a game A game we all keep ourselves busy with while death keeps the score. Like all players, none is ever ready at the final whistle. While away the hours for that is the gist of labour. But we all labour in vain. Behold, nothing stands in the end but a void- emptiness. So true this; the easy man ends up eating the best dinners. The less the struggle, the less the pain. Who said pain is gain? Pain is pain, and all so vain. Nothing is achieved but drain. Rest and you shall taste true rest!

Mzili 1999

AfriartWhere Gallery Aidchildto Gallerries findNommo ART Gallery Peacock building At the Equator on Masaka 4 Victoria Avenue, UMA showground, Lugogo Rd Tel: 041 234 475 Tel: 041 375 455, Tel:0772 616 861 Email: culture@africaonline. 071 2 455 555 co.ug [email protected] Kwetu Afrika www.afriartgallery.com Lubowa Off Entebbe Rd, Tulifanya Art Gallery Tel:041 200 690, 28/30 Hannington Road Design Agenda 0772 419 061 Tel: 041 254 183 JIC Building, [email protected] Parliament Avenue Tel:0772 718 158 Makerere University [email protected] Art Gallery Tel: 041 531 423 [email protected]

23 Contemporary Living Accessories

Peacock Building, UMA Showgrounds, Lugogo Tel: +256 712 455 555, +256 414 375 455 www.afriartgallery.com