all photos courtesy blaxTARLINES except where otherwise noted
Amyriad of curatorial strategies, such as collective curating, interspecies and intergenerational conversations, accessibility programming, exhibition-as-experimental site, class-sensitive audiencing, and the symbolic participation of the Unknown Artist—the “surplus population” of exhibition makers—have marked the blaxTARLINES KUMASI network of expanded-exhibition practice for the past decade and more. As a cross-generational and transcultural community, blaxTARLINES KUMASI operates through affirmative politics but also thrives on a propagative model of social organization responsive to its integral crisis points, gaps, and other manifestations of negativity (seid'ou and Bouwhuis 2014: 113). Thus, the network mobilizes different struggles, sometimes antagonistic ones, for common political action through collaborative projects.1 Many of the transformations that the blaxTARLINES coalition has brought to Ghana's contemporary exhibition cultures have grown out of the Emancipatory Art Teaching Project, a generative curriculum project launched in 2003 by kąrî’kạchä seid'ou at the Kwame Nkrumah University...