case. It is merely that the local institutions, which incidentally are almost exclusively controlled by foreign interests, do not showcase or represent this form of local art production. 

a.n: Maybe, we get later back to the foreign interests, but what is your goal?

AM: Our goal is twofold, to disrupt the current practice of the local art institutions, and shift their focus to recognise a local cultural practice, which is simply not featured. However, neither do we seek simply to celebrate an 'exotic' art practice. By including these artists within this space, we also intend to challenge them, and to stimulate within them further questioning of their own practice. 

a.n: And the danger that the gold could turn into coal?

AM: Than we crush it into diamonds.




IT'S A PITY WE ONLY EXIST IN THE FUTURE (curated by African Maximalism)



a.n: Thanks that you invited me for the show, it's possible that i have quite a developed idea, about art and public space in general, but how and why did you choose such a topic, and what is there relevant for you, in terms of Nairobi?

AM: In the sphere of local contemporary art practice it seems that artists are not engaging with public space, hence the title as a provocation. But if you further interrogate local cultural production, and understand art in public space as the performance of cultural expression in public, than Nairobi is a goldmine. 

a.n: What's provocative about the title, and by the way, do you know the story about the gold of the socialists international? If it would have been found by the capitalists, it would have

turned in their hands, into coal.

AM: Of course the title suggests that art practice in public space does not exist, or is an almost utopian fantasy, but this is not the