An installation, presented as part of the Thessaloniki Photobiennale 2018, reflecting on the earlier Ebifananyi exhibitions at the photo museum in Antwerp, Belgium and The Uganda Museum.

In 1875 explorer Henry Morton Stanley (UK 1841-1904) produced a photograph of Kabaka (King) Muteesa of Buganda (UG, 1838-1884) and his chiefs. Muteesa’s land was positioned on the northern shore of a body of water that we now call Lake Victo-ria, in a country that would later be named after his kingdom. …

There are significant differences between the words used for ‘pictures captured on light sensitive surfaces with the use of a camera’ in Luganda and in English. Ekifananyi is the Luganda word that is used to signify a photograph, but it does not mean a photograph. The noun “ekifananyi” is derived from …

This paper addresses the in- and exclusivity of, and of (in-)visibilities in the city for people with physical impairment by drawing on a participatory student research project. Students at the University College Groningen collaborated with students from the Art Academy Minerva and clients at the Noorderbrug, …

For the past decade I have, as an artist/researcher, investigated the uses of photographic pictures in East African country Uganda. The relation between photographic pictures and memory have been well researched and argued. But this is often done from a rather one sided Eurocentric perspective on photographic …

Ebifananyi at The Uganda Museum, an exhibition relating to my doctoral research, following up on an earlier exhibition in Antwerp, Belgium and in Kampala part of KLAART18, a ‘public art festival which celebrates public art for and in the city’. The visitors of the show in Antwerp were welcomed with a …

A presentation that provides insights into a visual mode of narrative research connected to my PhD research

This seminar is organized by the European Centre for Documentary Research (eCDR), as a complementary activity to expand the research work developed by its members and to generate links and collaborations with artists, theorists and other researchers.The present session focuses on contemporary documentary …

The 1980 World Press Photo edition xdirected the gazes of its audience mainly towards the ‘far east’. ‘The World’ was seen through the lenses of European, Russian and American photographers. This installation asks its audience to consider whether Elly Rwakoma’s photographs could have stood a chance, …