Extract of art review for AfricanColours published on 07-09-2010.
Memory is a delicate thing. A single witness can only hold so much, however a team of archivists can create a mosaic powerful enough to reclaim the past and to await a better future. In a bid to halt the deleterious effects of time, artworks have become vessels through which people cling to their memories, by bearing witness to their pasts.
As is common in most parts of the beautifully weird and winding city of Edinburgh, sandstone steps mottled with a patina of moss descend to the offices of the English Speaking Union. On that chilly August afternoon, the curator returns from his break, and delves straight away into articulating his thoughts to a duo of visitors.
Ed Cross, a gentle, soft spoken man was keen on opening up new avenues for the exposition of African artists in places where they are relatively unknown.
The exhibition entitled Witness: The Spectre of Memory in Contemporary African Art, showcased five important names; Richard Onyango and Peterson Waweru Kamwathi from Kenya. Senegal’s Soly Cisse and the Beninois Dominique Zinkpè, while Zimbabwean Lovemore Kambudzi was a lone herald from Southern Africa.
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