Art Worlds

In episode 28, Art Worlds visits Mongolia. Gantuya Badamgarav, a curator based in the country's capital Ulaanbaatar, has been integral to the development of the country’s contemporary art. With a macroeconomic policy background, Gantuya established 976 Art Gallery and the Mongolian Contemporary Art Support Association in 2012. She has organized over 100 exhibitions and was the first-ever Commissioner of the Mongolia Pavilion at the Venice Biennale in 2015. Since she has been the project director and the curator in 2022 and 2019 when she brought together traditional throat singers with the German artist Carsten Nicolai in an installation by Jantsankhorol Erdenebayar. Gantuya currently runs the Nomadic Red Corner International Artist Residency. She spoke to me from her home in Ulaanbaatar about her pioneering work.  

Episode 27 meets Raphael Chikukwa, a curator based in Zimbabwe’s capital, Harare, who is the Executive Director of the country’s National Gallery. He first joined the institution in 2010 as chief curator, following ten years of working independently and instigating a range of exhibitions including at the Imperial War Museum North and Manchester Art Gallery. Raphael’s commitment to enhancing the visibility of Zimbabwe’s artists saw him become the founding Curator of the Zimbabwe Pavilion at the 54th Venice Biennale in 2011. He curated subsequent editions, up until 2019, when he became commissioner. During his time he focused on group shows that included Portia Zvavahera and Kudzanai-Violet Hwami. Raphael has advised organisations internationally, among them, Future Generation Art Prize and High Line Plinth in New York and written extensively about Zimbabwe’s contemporary art. He joined me from his office at the gallery to discuss his curatorial work and the grand plans he has for 2024. 

Episode 26 features Richard Mudariki, an artist based between Harare and Cape Town. Known for his satirical figurative paintings, Richard addresses political reform in Zimbabwe, state corruption and social conditions in South Africa. In 2020 he founded artHARARE as an online platform to experience contemporary art by established, mid-career and emerging visual artists from Zimbabwe and its diaspora. The initiative has since developed with artHARARE participating in international art fairs like 1-54, building institutional partnerships as well as hosting talks and starting an art prize. Richard spoke to me from Cape Town about his ongoing efforts to support Zimbabwe’s artists. 

Episode 25 meets artist Misheck Masamvu who considers Zimbabwe’s post-independence character through painting, drawing and sculpture. Sensitive to the country’s economic and political turmoil, he uses frenetic mark making with elements of figuration lurking beneath to go some way to capturing and articulating the experiences of Zimbabweans. Misheck’s civic spiritedness is similarly felt at Village Unhu, an art space he co-founded in the capital Harare to nurture young artistic talent.Misheck’s work has been exhibited internationally at the 54th Venice Biennale, 22nd Sydney Biennale, Zeitz Museum of Contemporary Art Africa, among others. In January 2024, he will be included in curator Zoe Whitley’s exhibition at The Institutum, Singapore. Misheck took a break from his painting and joined me from his studio in Harare. 

In episode 24, Hana El-Beblawy, an artist and curator, discusses the organisation Ard Art she founded in 2022. Situated in central Cairo, in one of the city’s oldest neighbourhoods, the space provides opportunities for artists to experiment through a varied programme of residencies, workshops, exhibitions and more. With an open and inclusive ethos, Ard Art develops according to artists’ needs and places value on being away from the pressures of the commercial gallery system. Hana’s own artistic practice and experience organising exhibitions in her previous role as artistic and executive director of Art D’Égypte, inform her empathetic, ground-up approach. She joined me from her home in Cairo.

In episode 23, Art Worlds meets artist and academic Huda Lutfi who integrates her specialism in Islamic culture and history with her multimedia practice. Having taught at the American University of Cairo, her work is suffused with historical references, including symbols from Pharaonic and Coptic cultures, that are recontextualised to highlight Egypt’s contemporary social and political issues. Female archetypes, like the image of the iconic singer Umm Kulthum along with found mannequin parts, often overlaid with Sufi calligraphic text, question gender roles in a patriarchal society. Lutfi’s work is internationally renowned and can be found in the collections of the Barjeel Art Foundation, British Museum, Jordan National Gallery of Fine Arts and Los Angeles County Museum of Art, among others. Huda joined me from her studio in Cairo to discuss her work and Egypt’s art history.