Contemporary art took centre stage at the Gihanga Institute of Contemporary Art (GICA) in Kimihurura as artists from Rwanda and across East Africa gathered for Space Encounters, the institution’s second major exhibition. The exhibition, which ran from September 25–26, brought together 14 artists from Rwanda, Uganda, Ethiopia, Burundi, Eritrea and Sudan. Through their work, the artists explore memory, personal experience, identity and the ways knowledge is carried from one generation to another, responding to the exhibition’s central question: “How does knowledge circulate through rupture and remembrance?” The exhibition follows GICA’s inaugural show, Inuma: A Bird Shall Carry the Voice, which brought together established voices from the region’s contemporary art scene. While Inuma explored voice, memory and heritage, Space Encounters continues the conversation by looking more closely at how artists remember and reclaim agency over the memories and experiences they inherit. For curator Ngaara Dan, the exhibition is also part of GICA’s broader effort to make contemporary art more accessible in Rwanda. “Inuma was exploring voice, memory and heritage. Space Encounters is doing the same, but it is more so focused on how we remember and how artists claim back their agency to propose how they pass on the things they inherit,” Dan said. He said GICA was established to give people opportunities to experience contemporary art directly, rather than encountering it only through conversations about art. “It’s one thing to talk about it, but it’s another thing to immerse yourself in it,” he said. Since its launch, GICA has expanded its programmes to include exhibitions, screenings and opportunities for artists and audiences to meet and exchange ideas. Its programmes are also free for artists and the public, which Dan said is important in making contemporary art more accessible. “Over time, I would say, GICA, what it’s doing, it’s really showing this thing of art can be and should be accessible,” he said. Everyday objects tell personal stories That accessibility is also reflected in the way some artists approach their work, using familiar objects to draw audiences into ideas that might otherwise be difficult to interpret. For Ugandan artist Doddridge Busingye, Space Encounters provided an opportunity to showcase works that might not easily fit into more commercially focused exhibitions. He said many exhibitions tend to favour intricate works such as paintings and sculptures, while Space Encounters creates space for works that encourage viewers to engage with familiar objects. “Presenting an object that people are familiar with rather than a painting gives an easier entry point for the viewer,” Busingye said. “These objects are very relatable. Someone can look at it and feel like, first of all, they may think it’s not art. “But when it’s presented as art, then it triggers or evokes those thoughts about what I’m trying to communicate.” His installations, My Father’s Shoes and Bed of Roses, use everyday objects to explore personal experiences and relationships. My Father’s Shoes features shoes fitted with nails, while Bed of Roses places roses in a worn mattress, creating a contrast between discomfort and beauty. For Busingye, the invitation to engage with the work begins even with the language used to name it. “I make sure that my titles are welcoming,” he said, noting that they often draw on familiar phrases used in everyday life, such as “putting yourself in my shoes.” The approach also reflects a wider challenge in introducing contemporary art to audiences who may have had limited exposure to it. Dan said works such as Busingye’s can help audiences become more comfortable with contemporary art, particularly when they encounter it for the first time. “At first, they don’t get it. Matter of fact, the majority, they do not get it. Not because they don’t want to get it, but there is no such thing,” he said, referring to audiences’ limited exposure to contemporary art. He said unfamiliar works can instead encourage viewers to pause and question what they are seeing. “The whole point is for you to take a minute and question something,” Dan said. Rwandan artist Moise Izabiriza similarly uses familiar materials in Woven Together and Kaduna, weaving tape measures together as a reference to his mother, who was a tailor. Izabiriza, who is self-taught, said his background in science continues to influence his work through his use of numbers and scientific references. “The community is starting to understand, so it’s a great opportunity to also be here exchanging our artistic knowledge as artists, as they all come from different countries that have different cultures and histories,” he said. Looking ahead As GICA continues to develop, Dan said the institute is focused on building its programmes gradually rather than comparing itself with more established institutions. “I’m not going to compare it to, say, an organisation that’s been operating for five years,” he said. “Over time, you build momentum, you build structure, you have how you do your programmes, how you create programmes that people can access.” He said GICA is still learning as it builds that foundation, with an emphasis on quality and programmes that respond to the community. “We recognise we’re young, we’re fresh, we’re learning. And through that, through less quantity but more quality, we’re going to get there,” he said.
