blaxTARLINES
On Stage-Crafting
and State-Crafting
Beyond Crisis
Ibrahim Mahama’s Word and Deed
kąrî’kạchä seid’ou
all photos courtesy of Ibrahim Mahama, except where otherwise noted
Ibrahim Mahama (乙. 1987) will probably find his name
in the dwindling list of artists who would be missed
when contemporary art, as we have it today, gives way
to another regime already pressing into our view from
postausterity and postpandemic pasts and futures. 为了
close to a decade, his collaborative critiques and forms
of social formatting have been sounding boards for collectivist and
emancipatory politics under pre-, intra-, and postcrisis conditions.
的确, his corpus of massive jute-sack installations in city spaces
stands out as the most recognizable among his projects. 然而,
it is just a single node in a complex ecology of formats and prac-
tices—in Bourriaud’s phrasing, “a salient point in a shifting car-
tography” (2002: 19). As if responding unambiguously to Tania
Bruguera’s call to return Duchamp’s urinal from the art museum to
the washroom, Mahama’s location-specific and quasiperformative
projects seem to operate on a logic of capital repatriation while
continuing to function as sites for ideological overhauling, impro-
vised living, and generative platforms for gift exchange. While as-
pects of his body of works affirm, to a degree, their autonomous
form as alienated spectacles or their alchemical form as “deriva-
特维斯,” “futures,” or “tokens” in the international art market, 他们
are also contingent in a dynamic assemblage.
因此, when in lieu of this complex configuration, Brian Sewell
(2014), the controversial critic, merely saw the “pathetic beauty”
of an “Arte Povera decoration of old coal sacks sewn together,
worn, torn, and filthy” and, 再次, “missed the political and social
争论,” he reduced Mahama’s expanded practice to a modern-
ist spectacle, a frozen moment, or a snapshot. There is a similar
slip in judgement in Danish artist Kristoffer Ørum’s (2016)1 cri-
tique of Mahama’s Nyhavn’s Kpalang project at the harbor façade
at Kunsthal Charlottenborg, in which Mahama’s installation is
reduced to an all-over surface composition reminiscent of large-
scale Art Informel or “AbEx” canvases. To him, Antoni Tapies and
Jackson Pollock are the archetypal precursors and muses. Just two
years after Sewell’s encounter with the jute sack installation at the
Saatchi show, an exhibition in Dusseldorf would explore parallels
between Mahama’s jute sack projects and Alberto Burri’s “sacchi”
52 | african arts SUMMER 2021 VOL. 54, NO.2
corpus.2 All these offer some insights but miss important points, 在
spite of, or possibly because of art’s polysemy. As Mahama demon-
strates in his reflections on Burri’s work and twentieth-century
painting and sculpture, he hardly takes shelter behind postwar
cemeteries of artistic brand names, while not being oblivious of or
averse to them.3 Evidently, such interpretations tend to rob the art-
ist’s work of the concrete social, 材料, and ecological encoun-
ters he sets in place and the generative modalities embodied in his
实践. They miss the multisensory and extrahuman registers
that he codes into his body of works.
Another set of tropes consistent in Mahama’s projects that
frequently eludes the grasp of commentators is his dramaturgi-
cal reflection on precarity, 死亡, and temporality and their alle-
gorical cognates in material culture, urban life and architecture,
and ruins of twentieth-century mass utopias. This set of tropes
establishes methodological connections between the theatrical
形式 (stage-crafting) he deploys in his public installations and
the emancipatory politics (state-crafting) he proposes in his social
实践. 一起, these modalities of practice affirm collective
权利, reclaim encroached commons of nature and culture, 和
bring notions of private property to weird paradoxes.4
This text meditates on Mahama’s complex dramaturgy, 哪个
foregrounds these tropes and reflections and points to ways in
which Mahama hyphenates the “reality” of the theater and the “fic-
tion” of the social. It is an insider’s fragmented notes stitched to-
gether and wrapped around a dramatic structure of three acts and
an epilogue. This stylistic device reflects the patchwork, archival,
and theatrical methods that underpin Mahama’s installations and
social interventions. The text suggests that Mahama’s projects are
epitaphs to precarious labor and disposable life under neoliberal
capitalist sovereignty. Yet these epitaphs or “immersive taxider-
mies” and their cognates are also Mahama’s means of testing his
emancipatory vision for the reverse-gentrification of encroached
commons as well as a portal into a speculative postcontemporary
and postcapitalist horizon anticipated in contemporary discourse.
As a corollary, Mahama invents a parallel exchange economy
channeled through a witty alchemy while combining the mixed
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economies of the contemporary art market and negotiations with
state agents, corporate bodies, private owners, and traditional cus-
todians of land and indigenous knowledge systems. This distinctive
provenance of practices makes Mahama an artist who, 除其他外
事物, uses contemporary art rather than make contemporary art.
ACT I: SCENE 1
EXCAVATING FROM PASTS WHICH
FORFEITED THEIR PRESENT AND FUTURES
WHICH HARBOR NOTHING TO COME
The surgeon represents the polar opposite of the magician. 在-
titude of the magician, who heals a sick person by a laying-on of
hands, differs from that of the surgeon, who makes an intervention
in the patient. The magician maintains the natural distance between
himself and the person treated; 更确切地说, he reduces it slightly
by laying on his hands, but increases it greatly by his authority. 这
surgeon does exactly the reverse: He greatly diminishes the distance
from the patient by penetrating the patient’s body and increases it
only slightly by the caution with which his hand moves among the
器官. 简而言之, unlike the magician (traces of whom are still found
in the medical practitioner), the surgeon abstains at the decisive
moment from confronting his patient person to person; 反而,
he penetrates the patient by operating—magician is to surgeon as
painter is to cinematographer. The painter maintains in his work a
natural distance from reality, whereas the cinematographer pene-
trates deeply into its tissue (Benjamin 1969a: 233).
The past is littered with the debris of these futures, while our present
incorporates the unstable collective memory of hopes that have long
since been abandoned (力量 2010: 90).
Boltanski and Chiapello observe that the new spirit of capitalism
has seamlessly integrated advances in capitalist critique into its ac-
cumulative and exploitative mechanisms (2007: 419–82). In this
光, Hito Steyerl enjoins us to “simply look at what contemporary
art does, not what it shows” (2010: 31). This poses a real challenge
for today’s politically committed artist. Along with its retrotrans-
figuration and hypercommodification of the commonplace (Malik
2017; Relyea 2013; Danto 1983), its complicity in urban gentrifica-
tion processes, and the hipsterization of its creative class (Deutsche
Ibrahim Mahama
1
Non Orientable Paradise Lost 1667 (2017)
Centro Banco do Brasil. Belo Horizonte, 巴西
Ibrahim Mahama
2
Excavating Nkrumah Voli. 1966–2020 (2020)
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and Ryan 1984; Florida 2005), the default sociality of contempo-
rary art has become a most agreeable channel through which new
modes of capitalist extraction and exploitation are engineered or
birthed (Malik 2017; Zolghadr 2016, 2019; Boltanski and Chiapello
2007; Martens 2019). That contemporary art has arrived at the cor-
ridors of power is a fact one can hardly deny without compromising
one’s integrity. Taking contemporary art as a starting point rather
than a conclusion, Mahama announces a necessity to invent new
art-political imaginaries invested with concrete operations that
can unfetter, scale-up, and transmit emancipatory capacities across
time and space. In conversation with curator Antonia Alampi, 他
articulates a vision of capital and resource repatriation to locations
written off the default map of global contemporary art thus:
The point is to use the contradictions of the flow of capital in the art
world to create spaces in Ghana that can eventually affect the ma-
terial values within artistic practice and inspire the imagination of
generations yet to emerge.5
For Mahama, rewriting or reprogramming the time-signatures
of contemporary capitalist existence and the default time-con-
cept of the “contemporary” in contemporary art is a key path
to new art-political imaginaries. As Suhail Malik and a circle of
Left Accelerationists have observed, the principal drivers of com-
plex capitalist societies such as ours are systems, infrastructures,
networks and ecologies rather than individual human agents.
所以, human experience of time premised on consciousness,
memory and other intuitive forms of human temporalization loses
its primacy (Avanessian and Malik 2016: 7–9). 相似地, Mahama’s
emancipatory projects are inspired by the counter-intuitive time
implicit in extrahuman systems and models such as artificial in-
telligence, derivatives markets, preemptive policing, and the pro-
chronic time of creative fiction and experimental cinemas. In a
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recent reflection on his practice in which he draws analogies to the
Tesseract6 “time-machine” in the 2014 sci-fi film Interstellar, 他说:
It’s almost like a certain time travel where you’re almost trying to
go back to the past through the present. And also using the future,
which is yet to come … It’s like a loop … So that’s how I think about
these systems like building art works from all these old residues
… to somehow relook at the situation to see if we can revive those
空间, give them new functions also to create new other spaces
(Mahama and Bailey 2020).
Mahama interprets his engagement with the residues, ruins
and carcasses of colonial and postcolonial utopias, and of market
全球化, as a form of redemptive autopsy conducted on the
materiality of time. According to Benjamin (1969乙: 261), 这些
ruins and residues are speculative-time-embodied. They are pasts
charged with the here-and-now which the revolutionary blasts out
of the “continuum of history” in the process of forging new fu-
特雷斯. Time arrives from these forgotten futures encrypted in the
ruins and residues of failed pasts that the artist finds as potentials
lying dormant in the present (seid’ou 2015; Avanessian and Malik
2016; Bayard 2005, 2009). Using material and immaterial residues
from the past, Mahama reimagines, recodes, and reconfigures the
future by manipulating it directly in symbolic, infrastructural,
and social projects.
The Otolith Group refers to such time-traces within which
human-sentient time is deprioritized or out of joint as “the tem-
porality of past potential futurity” (力量 2010). Something ho-
mologous to this time-logic undergirds the different strands of
Mahama’s politically committed practice—from his “stage-craft-
ing” projects (spectacular and immersive jute-sack installations in
cityscapes and interiors, and monumental assemblages of derelict
物体 [如图. 1], through his alchemical manoeuvres in the art and
commodity markets, to his “state-crafting” projects (reverse gen-
trification projects and the reformatting of architectural, 社会的,
and ecological ready-mades). One such time-machine is Nkrumah
Voli, a decommissioned Nkrumah-era grain silo which Mahama
has purchased from the state and excavated for a transdisciplinary
“greenhouse” in progress (如图. 2). Abandoned fifty-four years ago
after the overthrow of Ghana’s first president, Kwame Nkrumah,
the brutalist and skeletal structure is an incomplete version of a
series of grain silos built by Eastern European architects in several
54 | african arts SUMMER 2021 VOL. 54, NO.2
Ibrahim Mahama
3
A Straight Line Through the Carcass of History. 1918–1945. 2015–2018
Hospital stretchers used to transport wounded soldiers during the World
War II and materials and objects from fish smoking cultures on West African
coasts. Installation view. Daad Galerie Berlin, 2018.
Ibrahim Mahama
4
Parliament of Ghosts (2019)
Whitworth Gallery, 曼彻斯特大学.
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regions of Ghana. They were proposed as means to hedge cash crops
and grain on the international market during the Cold War era.
Since Mahama resurrects and repeats the past in inoperative ways,
the derelict silo becomes a space of impossibility through which
new potentials are nurtured and released. Addressing his audience
at an inaugural Nkrumah Voli lecture, he shares these insights:
Literally, you’re sitting in an impossible space, the body is not sup-
posed to be here. In the history of the design of this building, none
of us should have been sitting in this place and time (Mahama 2020).
Suhail Malik and Arman Avanessian have argued that such a
speculative time-complex that “changes the direction of time”—
one that surpasses the existential or phenomenological limits of
“past–present–future” structure—is a necessary condition for exit-
ing the “contemporary” to the “postcontemporary” and therefore
“postcapitalist” futures (Avanessian and Malik 2016; Srnicek and
威廉姆斯 2015; Rifkin 1995). If this appraisal is correct, it places
Mahama among artist harbingers preparing the ground for an
emergent postcontemporary art.
In Mahama’s installation environments, the smell of ghosts7
from futures afar is discernable. The counterintuitive forms of
dating that appear in the titles of his iterative projects such as A
Straight Line through the Carcass of History: 1918–1945. 2015–2018
are not simply a record of provenance (如图. 3). They are also pro-
jections, indicating that they bear witness to Mahama’s strategic
acts of “plagiarizing,” mining, or excavating from futures that were
bypassed, suspended, forgotten, erased, or emancipated (seid’ou
2015; Bayard 2005, 2009). 因此, in one familiar context, Mahama’s
time-space transcends phenomenological limits and enters the
speculative realm of specters, the living-dead, and the inhuman.
In Parliament of Ghosts (如图. 4), a postrelational project that reso-
nates with Derrida’s hauntology (1994, 2002), Mahama combines
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Ibrahim Mahama
5a–b
Occupation and Occupation (2014)
Adum-Kejetia Railway Footbridge Project. Epic
street-theater and mass street-gallery. Kumasi, 2014.
roles of dramaturge, actor, medium, archivist, and architect and
stages a danse macabre with ruins, failures, and traces of Ghana’s
mass utopias and “carcasses” of colonial and postcolonial history.
The remains of the ephemeral project are later repatriated from the
Whitworth Gallery in Manchester to the Red Clay Studio Complex
in Tamale, 加纳. This time, it is a sunken cenotaph and a per-
manent component of the 200-acre open-access infrastructure.
Echoing aspects of Ghana’s colonial heritage of design, Mahama’s
“tomb” of seating tiers, cast in iron and concrete, functions as an
agora. This time, the open-air amphitheater of ghostly and living
“parliamentarians” encircles a pond of water lilies at play signalled
in Ghanaian modernist Agyeman “Dota” Ossei’s painting8 on
展示. Like the surgeon or cinematographer in the Benjamin epi-
graph or a pathologist conducting autopsies on corpses, Mahama
diminishes the magician’s or painter’s natural distance from real-
ity—he gets his hands dirty by “penetrating into its web and cut-
ting deeply into its tissue.” His postmortem is thus conducted as an
epic theater which has lost its fourth wall of critical distance.
ACT I: SCENE II
SPECULATIVE DRAMATURGY: AUTOPSY,
ALCHEMY AND COLLECTIVIST SOCIAL
FORMATTING
Mahama is a principal figure among artists working from the
African continent—and on blue-chip trails of its diasporas and
antipodes—who brazenly write labor, its precarious conditions,
and the promise of economic emancipation back into the pre-
vailing ethos of international contemporary art.9 His projects also
entail a form of alchemy that transforms tokens of the legitima-
tion apparatus, extractive economies, and the global value chain
of market capitalism and contemporary art into affirmative social
reconstruction projects in regions and regimes silently written off
their gentrified maps. This is radical critique in action, a material-
ist intervention which challenges, with a nod to Renzo Martens,
trompe l’oeil regimes of critique commonplace in the “critical art”
communities of “white cube” environments and “biennale” circuits
(Martens 2019; Ivanova 2015). Mahama’s praxis is a paradoxical
one of capital hacking and repatriation and reverse gentrification
invested with the promise that another art world economy, 和
therefore another art world, is possible.
Mahama’s reflections on precarious labor, via spectacular inter-
ventions into the commons of the urban environment, are staged
like epic street theater and mass street galleries; the division be-
tween actors and audience is blurred (Figs. 5, 8). As Buck-Morss
describes such a scene, “roles constantly change as individuals are
swept up in the rhythms, 声音, and fragmented images of the
crowd” (2002: 144; Mally 1990: 125).10 Considering the giant scale
of Mahama’s urban projects coupled with their collectivist pro-
归纳法, assemblage logic, and mass audiencing, the individual is
lost in the crowd and “liberal-individualist prejudices” seem sus-
pended. Žižek (2018) has described how such intense immersion
of autonomous individuals into the social body could constitute “a
shared ritualistic performance that should put all good old liberals
into shock and awe by its “totalitarian intensity.” Yet, the patch-
work image conjured up by Mahama’s giant jute-sack tapestries or
modular assemblages of objects in crisis says it all: The individ-
ual lost in the crowd is not necessarily protofascist. The scene that
ensues is a living montage—a multiplicity, not an organic whole.
As Benjamin notes, a montage is constructed “piecemeal, its man-
ifold parts being assembled according to a new law” (1969A: 233).
Mahama then becomes a dramaturge whose stage-crafting com-
bines multiple forms of reenactments under contemporary market
全球化. In this scene, actors such as refugees and precarious
workers—whether present or absent, living or dead, both and nei-
ther—play themselves. Reality is inscribed at the heart of fiction,
transforming, in Viktor Shklovski’s phrasing, “the living tissue
of life” in the city into “the theatrical” (Buck-Morss 2002: 144).
然而, the theatrical form is not an end in itself; it is connected
dialectically to a state-crafting practice which concretizes specters
of “the theatrical” into new “tissues of life.” This is the logic behind
the commons reclamation, reverse-gentrification and capital repa-
triation projects. Form does not directly coincide with narrative
内容. The excess of narrative content that escapes the theatrical
is translated into extra formal devices.
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ACT II: SCENE I
GHOSTS SMELL FROM FUTURES AFAR—
MOLTED SKINS, ARCHITECTURAL
TAXIDERMIES, AND EPITAPHS TO LABOR
Architects often take little account of the body, or the way bodies in-
tegrate with the spaces they construct. My worry is that in cities like
Caracas, Lagos, and Accra—or in other places where there are large
slums—the state, rather than being a protagonist for the people be-
comes an antagonist by favoring gentrification over human welfare. 我
have inherited and grown up within this environment of failure, 和
as an artist I ask myself how I can take this failure and subvert it, 如何
it might lead into change? Crisis and failure are points of departure
为我 (Bower and Mahama 2016: 26).
In the analysis of labor relations, significant insight has been
gained since Lefebvre shifted focus from Marx’s factory environ-
ment to actual life in the city and the collective rights to the city’s
reservoir of common wealth. It is in this vein that Hardt and Negri
describe the urban environment as “a factory for the production of
the common” (2009: 250). Under neoliberal capitalist administra-
tion of these commons, 然而, expended labor and expended
life manifest as magnificent but gentrified structures, logistics and
sites in the built environment, as encroached services, ecologies,
和货物, and as neglected regions, 物体, and materials. 这
same system also sets up conditions of general precarity that man-
ifest in the disposability for human subjects, exposure to death, 或者
the possibility of radically transforming into an “unrecognizable
persona whose present comes from no past.”11 Mahama’s interven-
tionist projects offer and test proposals for making common again
public infrastructure, logistics, life forms, and production relations
that face the crisis of encroachment, gentrification, neglect, or ex-
tinction. Symbolically, the projects are epitaphs to labor and reflec-
tions on exclusions, expiry, and precarity associated with market
globalization and the mixed economy of global contemporary art.
Within the complex configuration of his redemptive infrastruc-
ture projects, the jute sack material is an allegorical and forensic
motif but also a unit of economic sign and symbolic exchange. 他的
56 | african arts SUMMER 2021 VOL. 54, NO.2
Ibrahim Mahama
6
(我) Maria (Maria Fuseini Awabu); (r) Azara
Mahama draws parallels between the skins of “porters of
goods” (tattooed skins of Ghana’s women porters) 和
“vessels of goods” (the “molted” and signed jute sacks) 在这个
series of photographs that pays homage to migrant porters and
project collaborators.
7 Écorché
Drawing in Juan Valverde de Amusco’s Historia de la
Composicion del Cuerpo Humano (Antonio Salamanca & Antonio
Lafreri: 罗马, 1560, p. 64) attributed to Gaspar Becerra
照片: courtesy US National Library of Medicine, Creative Commons
under Public Domain Mark 1.0
expanded practice is an exercise in speculative dramaturgy and
collaborative critique. They combine forms of “autopsy,” archiving,
alchemy, and social formatting.
In Mahama’s allegory, the decommissioned jute sacks he deploys
are the shed skins of global agrocommodity trade, especially those
denied their visas to cross the Atlantic after transporting cocoa
beans and other cash crops that fill up containers waiting in the
harbors.12 The global capitalist market is the beast that sheds its skin
after it has grown a new one in its place. It is the apparatus that initi-
ates the subsequent precarious conditions of its shed skins. 在他们的
second life, the molted skins left behind generate a residual market
经济. They are purchased at a symbolic fee by local grain mer-
chants and overworked until they are unable to store or transport
food any longer. 最后, they are taken over by local char-
coal traders who patch their holes up and set them to work until
they lose their quality as vessels altogether. They are emptied at this
point of their second death and exchanged for Mahama‘s fresher
sacks on offer which are themselves “molted skins” purchased
from the harbors. Mahama collaborates with a section of Ghana’s
precariat, especially migrant women head porters (kayayei) living
on the edge like the derelict jute sacks, to sew and patch them to-
gether into giant tapestries that encase over-scaled city structures
as their new skins. 因此, one seems permitted to read these jute
sack-draped structures as immersive taxidermies of molted skins.
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Ibrahim Mahama
8
Check Point Prosfygika. 1934–2034. 2016–
2017 (2017)
Performance with ready-made labor and
ready-made site of production at Syntagma
Square, 雅典. documenta 14, 2017.
In Dagbani, the language that Mahama and other Dagombas of
Ghana speak, kpalang, the word for “sack” or “vessel,” is polysemic
and connects to human life when it is also used to refer to “skin” or
“body.” In a 2016 interview with Lotte Af Løvholm, Mahama refers
to the signatures appearing on the jute sacks as repeating the marks
that appear on the skins of Ghana’s human precariat (如图. 6):
Because of political and economic crisis that has existed for some
time in Ghana, people have developed a culture of writing part of
their history on their body, their name or their parents’ names. 在
case something happens to them, they can be traced back to their
relatives. Some of them tend to transfer these writings onto the sacks
and that is the writing you see (Løvholm and Mahama 2016).
An allegorical image comes to mind when one encounters
Mahama’s giant and immersive taxidermies of “molted skins” in
urban space. It is a return of the repressed—an intrusion of the city
by the living dead, by the breaths of the left behind, the departed, 或者
the ancestors in the whispers of the swaying jute sacks. Mahama’s
architectural and jute sack taxidermies are countermonuments of
absent bodies13 or of “death on display.” They are like giant écorchés
who got back their lacerated skins but who return our gaze as mon-
strous spectacles—as ciphers of the unhomely14 (如图. 7). Through
a seeming “new lamp for old” transaction, Mahama contributes to
the “molting” process by exchanging newer sacks—bought fresh
from sack dealers at the harbor—for worn out and mended char-
coal-bearing sacks which have nearly surrendered their capacity
to contain or to enclose. For the journey from edibles to charcoal
is nearly always the sack’s journey towards death, exclusion, rejec-
的, or exploitation. 这里, the artist participates in ending the ma-
terial’s working life before immortalizing it as art, while initiating
another death-prone trajectory for the newer sacks. On the one
手, this scheme expands or sustains the fungibility of the sack
材料. 另一方面, it echoes a vicious cycle endemic to
capital itself, like a system paying the plaintiff with her own money
(Zupančič 2018). Mahama wittily opens the lid on the possibility
of an artist’s complicity in the exploitative mechanisms of the con-
temporary capitalist apparatus.
It is important to Mahama that the “molted skin” material is not a
discarded or found thing but a commodity bought and exchanged
为了. By self-consciously choosing not to use “discarded or salvaged
materials” or “found objects” but by generating materials via par-
ticipating in, activating, and rerouting the capitalist conditions of
commodity exchange and value production, he seems to extricate
himself from an enduring image, the stereotype of African artists
of residual and accumulative practices as nothing more than sal-
vage or “upcycling” bricoleurs.
顺便, the advent of Mahama’s immersive taxidermies and
their global visibility was coeval with the elevation to cult status
of another materialist skin metonym in the discourse surround-
ing the built environment—the architectural envelope. At the turn
of the century, it had displaced the postmodern fascination with
surface representation and the multicultural identity politics that
came with it. 如果, in the modernist era, cross sections, 计划, pilotti,
and façade libre were the architect’s principal means of spatial dis-
tribution and political engagement, in the epoch that followed the
postmodern, envelopes had become both the limit and means
of spatial, 班级, and cultural politics. Alejandro Zaera-Polo had
argued that the politics of inclusion and exclusion in architecture
is located more in the envelope’s materiality and organizational
value than in its iconographic content (Zaera-Polo 2008, 2009).
In its prehistory in the last decade of the twentieth century, 亲-
globalization starchitects embracing anarchocapitalist politics and
its spaghetti-Deleuzean poetry of fluid fields, porous boundaries,
morphogenesis, and autopoiesis had put more premium on the
technical means by which to dissolve the architectural envelope in
order to conduct material and immaterial flows between the out-
side and the inside. Paradoxically, this design mantra soon evolved
into an apparatus for the gentrification of urban commons and
partition of space into cupolas, territorialized filter bubbles that
concentrated wealth and natural resource and deepened exclusions
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of the “toxic” outside (Sloterdijk 2011, 2014, 2016).15 The epochal
phase of these paragons of “permissive enclosure” was launched as
borders reemerged within the logic and mechanisms of horizontal
flows and borderless universes. Architecture conceived as a dereg-
ulatory force and autopoietic processes conducting flows through
porous borders, is at the same time the apparatus that concentrates
wealth at the expense of urban commons.16
By visually transforming architecture and structures across eras,
provenances, regimes, and geographies, into “brutalist” jute sack
envelopes, Mahama exposes the ubiquity of the mechanisms of
enclosures and exclusions. He realizes this “brutalist” homogeni-
zation by redoubling walls, roofs, and skins of the built environ-
ment with derelict and molted jute sack patchworks which void
the façade of its symbolic significance or displace a building’s
faciality altogether. This corpus of immersive taxidermies and,
to a large extent, its cognate écorchés of decommissioned silos,
reverse-gentrified infrastructure projects, and object assemblages
resonate with the necropolitical capitalist thesis Achille Mbembe
develops in his recent book project Brutalisme (2020).17 The grid
structure of the jute sack patchwork resurrects a familiar mod-
ernist aesthetic,18 yet its softness, perforations, 病变, scars, 和
biomorphic folds complicate its narrative consistency and stylistic
身份. What would have been a typically rigid, pristine, mute,
and immutable modernist motif appears expressive, hyperbolic—
even “baroque”—and under construction in Mahama’s speculative
taxidermies. They seem opaque from a distance, yet on a more inti-
mate encounter, they are rather gauzy and sinewy, obliging viewers
to see through them from either side. 因此, they only pretend to
conceal what they cover or contain. The redoubled skin, patched,
sutured, and punctured in several places, reveals the traumatic and
precarious underside of the labor relations—of voided subjects—
that have come to constitute these commons of the built environ-
蒙特. The taxidermies, epitaphs to divested labor and monuments
to absent bodies, become giant memento mori. Under neoliberal
capitalist sovereignty, they are postapocalyptic dioramas or vani-
tas still life objects installed in real time and in literal space; 他们
are like gravestones marking the absence of populations emptied
of life.19 They are metonyms of actual lives already lived; lives po-
tentially emptied of political substance. As doppelgangers of “bare
生活,” they make us see our own bodies and lives as a traumatic en-
counter with our own excess, as living beings always-already dead
or as undead zombies20 (比照. Malabou 2012a, 2012乙), phantoms, 或者
ghosts reading their own epitaphs.
Ibrahim Mahama
9
Civil Aviation Project, Airport, Accra, 2014, an iteration of the
Occupation series
10 Ibrahim Mahama
Walkthrough scene, Adum bowstring footbridge, 2014, an itera-
tion of the Occupation series
11 Ibrahim Mahama
No Friend but the Mountains 2012–2020 (2020)
Installation view, 22nd Biennale of Sydney, Cockatoo Island
照片: Zan Wimberley; courtesy Ibrahim Mahama, White Cube, 和
Apalazzo Gallery, Brescia
12 Ibrahim Mahama
Out of Bounds. Walkthrough installation and scene allusive to the
propitiatory walk in Dante’s Inferno. Venice Biennale, 2015. 最后的
iteration of the Occupation series
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13 Ibrahim Mahama
No Parking, No Stopping, No Loading
Abandoned Nkrumah-era silo structure, Ho
14 Core group of young women head porters (kayayei)
and North-to-South economic migrants (readymade
劳动) whom Mahama regards as collaborators working in
readymade production sites.
Beposo Bridge Project (1936–2016)
To modern sensibilities, taxidermy and its accompanying fetish
of trophy culture are cruel. Taxidermy has had a devastating impact
on many species and also betrays the beast inherent in human
forms of sovereignty (比照. Derrida 2011; Mbembe 2019; Agamben
1998). 所以, the analogy might seem to be an insensitive one. But it is
drawn advisedly here. Without a doubt, there is systemic cruelty at
the heart of the neoliberalization of capital and its unbridled glo-
balization of markets, the zenith of the late twentieth-century eco-
nomic system which invented the intermodal shipping containers
of global commodity trade. Needless to say, the “beast” that sucks
up raw materials from the global souths, “shedding” the transport-
ing sacks as surplus and initiating their perilous conditions in the
local grain and charcoal markets, is the same system that admin-
isters economic and labor conditions that deposit surplus popula-
系统蒸发散, emptying out their human and political substance.
结构上, capitalism needs to render more and more workers
useless to keep pace with itself and become more efficient. 因此,
unemployment and various forms of precarity21 are structurally
coded into the “dynamic of accumulation and expansion,” that
是, into the very nature and heart of capitalism (比照. Jameson 2011:
149; Lazzarato 2012). The more efficient capitalism needs to be,
through higher productivity, 积累, and expansion, 这
more it needs to expose more populations to precarity and the
threat of death. In its post-Occupy and postausterity form—pre-
cisely, the Neoliberal 2.0 Capitalist form—history seems to have
been made; for the first time capitalism echoes the form of precar-
ious subjectivity itself.22 While Aaron Schuster (2016) sees in this
short circuit between precarity and capitalism the end of an epoch,
Žižek (2017) sees in the contemporary precarious subject the ex-
ception and surplus of capitalist universality,23 the embodiment
of universal freedom and capitalist inoperativity through the new
uses they are inclined to put their bodies to (比照. Agamben 2015). 在
Žižek’s evaluation (2020: dedication page), they are those “whose
daily lives are so miserable that they ignore Covid-19, regarding it
as a comparatively minor threat,” yet,
they are free to reinvent themselves all the time, to search for new
form of expressing their creativity, but the price they pay for it is that
their daily existence is marked by eternal insecurity, helplessness,
and anxiety (Žižek 2017: 262).
为了确定, there is no star in Mahama’s dramaturgy even if his
sanctimony around Ghana’s women migrant porters, the kayayei,
seems to “privilege” them as the natural embodiment of economic
precarity; even if he singles them out of his expanding network
of precarious contributors as his “collaborators.” The Squatted
Prosfigyka project24 in Athens for documenta 14 creates an ex-
panded image of populations potentially subject to global eco-
nomic precarity (如图. 8). Here the levelling and depsychologizing
of social classes, 比赛, and gender in the activity of hemming jute
sacks together at Syntagma Square gives an indifferent and univer-
sal form to an activity previously the preserve of women migrant
porters in the Ghana projects.
But precarity takes different forms, some of which play out as
radical antagonisms within itself. Mahama’s point is to use the
blind universality of human precarity as a point of departure for
emancipatory art propositions. Citing May 27, 1525, the day of
Thomas Muntzer’s failed Peasants’ Revolt, as historical muse and
subject for his documenta 14 项目, he intimates:
Crisis and failure have always been material and political. The strug-
gle for freedom promises renewed potential for social justice and
equality but also the possibility for completely counter outcomes.
The struggle must continue to intervene in existing conditions and
propose alternative futures, leaving stains and residues that distort
the known image. These may induce a shift in perspective, a re-
orientation to the relations of production (Mahama and Ndikung
2017: n.p. [八月 28]).
Under capitalist sovereignty, precisely, the global finance and
austerity capitalism of our present historical moment, all are
marked for death. Like the COVID-19 pandemic, one is only
lucky to get spared. The Occupy Wall Street slogan, pitting the 99%
against the 1%, has resonance here. Precarity is a potential condi-
tion for all humanity. The commons of humanity itself is under the
threat of proletarianization and the subject of history is nearly a
zone of indifference.
VOL. 54, NO. 2 SUMMER 2021 african arts | 59
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15 Inaugural Exhibition at SCCA Tamale (2019): Galle
Winston Kofi Dawson: In Pursuit of Something “Beautiful,”
Perhaps…, curated by Bernard Akoi-Jackson. GWK
Dawson is a Ghanaian modernist painter trained in
Kumasi and the Slade in the 1960s
16 Red Clay Studio Complex. A 200-acre network
of artist studios and residencies, community art and
design school, technology hub, children’s playgrounds,
film and performance theatres, 考古学的
museum, community farms, and a center for renew-
able energy. [Project under construction].
ACT II: SCENE II
“OUT OF BOUNDS”: MAHAMA, DANTE,
AND ENWEZOR TAKE A STROLL THROUGH
“INFERNO” AND “THE GARDEN
OF DISORDER”
在 2015 Venice Biennale, Mahama’s giant taxidermies came
to the attention of a worldwide audience. With the Out of Bounds
项目,25 the last iteration of the Occupation series, the young
Ghanaian artist had lent skin to skinless medieval masonry; it had
seemed the vacant masts of the legendary Venetian shipyard of
yore, in Dante’s Stygian account, “the ribs of that which many a
voyage has made,”26 had got their sails back, this time ragged and
doleful ones. 同时, local Ghanaian audiences had witnessed
several iterations of Mahama’s public interventions, 尤其,
the maiden editions of the Occupation series (如图. 9), prior to the
Venetian epic event curated by Okwui Enwezor and his team.
The open-air walkthrough genre was an early development in
Mahama’s public installations, especially the Adum Railway foot-
bridge series in 2013 和 2014 (如图. 10). At the 22nd Biennale of
悉尼 (2020), Mahama restaged the walkthrough installation and
scene No Friend but the Mountains, 2012–2020 in an interior space
at Cockatoo Island (如图. 11).
同时, when the derelict jute sack tapestries, metonyms
of the “left behind,” made their ironic entry into Venice as trium-
phant icons of alienated labor and as forensic registers of global
and local trade routes, they also left behind the precarious workers
and collaborators who had hemmed them together at needlepoint
and had signed their names and initials on them. The latter were
denied entry visas on account of their sans-papiers status in Ghana,
as incomplete citizens and therefore socially toxic subjects to bar-
ricade—“out of bounds”—from fortress Europe. Yet their absent
60 | african arts SUMMER 2021 VOL. 54, NO.2
身体, caught in precarious economic conditions back home and
exposed to the threat of expiry, 处理, or death on daily basis,
remained spectral in the Venice taxidermy. 尽管如此, Out of
Bounds had also evoked memories of collective labor conditions
peculiar to the Arsenale of antiquity, the largest preindustrial “rust
belt”—at its peak, a Renaissance-era industrial complex which
is said to have anticipated the assembly line of Fordist industrial
revolution. Like the repurposed jute sacks, the “rust belt” of the
Arsenale is a fossil, relic, or residue of past circuits and trajectories
of an economic system, this time of specific production relations
between people which had lagged behind the changing forces of
production between things.
Occasionally, Mahama’s giant “skin” sails flapped to the beckon-
ing of the Adriatic winds, breathing in and puffing out the breezy
currents through its gaping holes while humming, whirring, 和
whispering back and forth between the mirroring pair of medieval
corderie walls. 的确, it was impossible to miss the vast sea of
wretched and saggy sacks surging steeply downward, and almost
obligingly, towards the visitor’s feet, 21 meters below.27 But more
显著地, it was impossible to miss the walkthrough, 之间
and within the nearly animate installation, because it flanked
the entry-exit corridor that took visitors to and from the official
Biennale exhibition sites and the national pavilions in the Arsenale.
A visitor connecting to the Arsenale from the Giardini’s central
pavilion where the three-plus-one volumes of Das Kapital were
being read out, or from the opulent yachts of billionaire collectors
anchored along the fondamenta, would be caught in Mahama’s
317 meter-long “propitiatory” walk. And the irony of this scenario
would not have been lost on Marx or Benjamin, the muses of All
the World’s Futures, nor on Enwezor, the curator, who bade all to
reflect on the “current disquiet that pervades our time.”28 Mahama’s
Out of Bounds walk-through scenario echoes the propitiatory walk
of Dante (the living), guided by Virgil (the departed), through the
iron-colored valley of the Inferno, toward Purgatory and Paradise.
此外, the walk-through scenario seems to bring Dante’s
Divine Comedy trilogy into a surprising tête-à-tête with Okwui
Enwezor’s troika of curatorial filters: “The Garden of Disorder”
(Inferno); “Capital: A Live Reading” (Purgatory); “Liveness: 在
Epic Duration” (Paradise).
Sharing something with Francis Alÿs’s paseos, Mahama had
transformed what would have been a routine walk into an ironic
artistic form, into a whimsical procession of attentive or distracted
walks of art pilgrims, patrons, and passers-by embedded in the suf-
fering of others, 并有可能, of themselves (如图. 12). 而对于
this “chorus of idle footsteps,”29 detours are out of bounds.
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ACT II: SCENE III
WHEN GIFTING BECOMES FORM:
READYMADE LABOR, READYMADE
ARMATURE, AND COMMONING OUR LOST
AND FORGOTTEN COMMONS
The Occupation series and subsequent projects conceal a social
practice of commoning30 under the veil of spectacular installa-
系统蒸发散. The repurposed jute sacks, metonyms of absent bodies, 和
their dissipated labor, frame real-time living conditions in the city
space.31 A complex dramaturgy ensues. The interventions chal-
lenge the various means by which exclusive property rights, 岑-
tralized state regulation, and neoliberal economic forces encroach
on the city’s collective commons and transform them into private
property and gentrified public spaces and goods.
In the somewhat blue-collar phase of his early projects, Mahama
organized modest labor forces toward transforming Ghana’s pri-
vatized commons32 or state-administered public spaces and in-
frastructure into transitory and open-source art production and
exhibition sites. The “readymade labor” of the city’s surplus popu-
lations came into creative dialogue with the city’s “readymade ar-
mature” (如图. 13). Beside doubling as framework for installations
and exhibition sites, the “readymade armatures” also function as
sites of production for new work (如图. 14), archives of decaying
histories reordered and reprogrammed for new projects, cues
for future forms of spatial design for his proposed commons and
prompts for new forms of social engineering. These six modes of
the readymade armature are intertwined in Ibrahim Mahama’s
ongoing projects. The mournful jute sack tapestries, sewn by the
hands of the “readymade laborers,” mediated between these dark-
ening and paling shadows of urban commons.33 And that is how
the giant taxidermies were born.
Concomitant with the Occupation series and Out of Bounds
are Mahama’s “silent” infrastructural interventions in Ghana that
exposed paradoxes and contradictions at the heart of the poli-
tics of commoning itself, 尤其, when different formats of
commonning competed for significance in the same location or
among members of the same activist community, or when private
rights and state regulation, quite ironically, became the acquies-
cent means of protecting endangered commons. In some of the
artist’s public projects, hawkers and squatters exercising their
“Rights to the City” and thereby occupying State-designated “out
of bounds” spaces staged silent acts of sabotage and protest against
Mahama’s installations, which temporarily encroach a public space
A retrospective on Ghanaian
17a–b
Modernist Agyeman “Dota” Ossei’s lifework
opened concurrently at SCCA-Tamale (我) 和
Red Clay Studio Complex (r) where conversation
between the artist and co-curator Kwasi Ohene-
Ayeh was held at the repatriated Parliament of
Ghosts. Akutia: Blindfolding the Sun and the Poetics
of Peace (September 2020–March 2021) 曾是
curated by Adwoa Amoah, Tracy Thompson, 和
Kwasi Ohene-Ayeh, exponents of the blaxTAR-
LINES KUMASI coalition.
照片: courtesy Kelvin Haizel for SCCA Tamale
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to common it. 这里, two formats of commoning public infra-
structure with different intents come into confrontation. Till date,
Mahama’s most notable projects that have explored the paradoxes
of public commons are, 分别, the Savannah Center for
Contemporary Art (SCCA) (Figs. 15, 17A) and the Red Clay Studio
Complex (Figs. 16, 17乙) in Tamale in northern Ghana. The SCCA
is first a “repatriated white cube” (Martens 2019). It is an exhibi-
tion and research hub, cultural repository, publishing house, 和
artists’ residency dedicated to retrospective exhibitions on twenti-
eth century Ghanaian and African modernism in art, 设计, 和
技术. The Red Clay Studio Complex, 另一方面, 是
a 200-acre network of artist studios and residencies, 社区
art and design school, technology hub, children’s playgrounds, film
and performance theaters, archaeological museum, 社区
farms, and a center for renewable energy. The SCCA and Red Clay
Studio sites are especially committed to educational commons.
There is special focus on expanding the worldview of children in
provincial districts. Children from surrounding villages are sub-
jects of transdisciplinary and open-access education in drone
技术, flight simulations in decommissioned planes, 视频
and photography, 农业, and contemporary art as a supple-
ment to their formal education in public schools. Mahama thus
maintains links with the parent blaxTARLINES community in the
Kwame Nkrumah University of Science and Technology and other
public institutions as partners in the generation and operation of
the multidisciplinary curriculum at the Red Clay Studio Complex
and the cultural programming of SCCA.
Through these infrastructure projects, Mahama has exer-
cised full private property rights by negotiating with state agents,
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18 Ibrahim Mahama
Mallam Dodoo 1992–2016.
National Theater Project, Accra, 2016.
19 Ibrahim Mahama
A Friend
Giant taxidermies at the Porta Venetia Gateway,
米兰, 2019.
corporate bodies, private owners, and traditional custodians of land
as a paradoxical means by which to recommon or reverse-gentrify
public spaces, 商品, and social services facing threats of private
encroachment and gentrification. 在多数情况下, the postcolonial
State under neoliberal pressure has construed public infrastruc-
真实, 商品, and services as cash cows, failing which they are di-
vested or abandoned to decay. 因此, abandoned silos, 例如
Nkrumah Voli, and industrial and estate projects of the colonial
and Nkrumah eras have also become sites, muses, and means for a
new series of redemptive infrastructure and social projects.
ACT III: SCENE I
FROM SPECTACLES AND WALKTHROUGHS
TO ENCLOSURES AND BACK: THEATER’S
APOTHEOSIS AND PROFANATION
在 2018, Mahama was invited to embark on the Great Hall in-
stallation project at the Kwame Nkrumah University of Science
and Technology (KNUST), Kumasi. At the time, he was complet-
ing a DAAD residency in Berlin. The SCCA and Red Clay Studio
Complex were under construction. His body of work had seen
several phases of transformation and his new projects were still
in the process of transmuting beyond the recognizable jute sack
装置. After Out of Bounds—within the historical moment
when the shift from exchange economies to debt financing, 租
and gig economies, and their baggage of austerity measures, seems
to have reached its highpoint—the artist’s meditations on imma-
terial forms of labor and flows of finance capital also intensified.
劳动, and with it all urban conditions that thrived exclusively
on the use of bodies, had become homologous with precarity.
They had become more defined by global economic conditions
of universal indebtedness than by direct exploitation by owners
of means of production. 随后, the labor alliances and col-
lectives Mahama formed for his new projects, 也, took a more
precarious form, 那是, becoming more fluid, contingent and un-
predictable. Collaborative labor widened in scope to embrace the
acknowledged input of all involved in the collective reproduction
62 | african arts SUMMER 2021 VOL. 54, NO.2
of the commons of contemporary urban life and potentially at the
mercy of disposability in the hands of the global finance and debt
行业. Beyond kayaye and blue-collar laborers, the list of col-
laborators began to include bureaucrats, 学者, librarians, 阿尔-
chitects, engineers, political activists, security personnel, and care
givers. 然而, in the context of Mahama’s projects, they all learn
to perform new tasks.
After Out of Bounds at Venice Biennale 2015, Mahama’s jute
sack installation form had become less of a “look at” banner veil-
ing a façade, or a pair of “walkthrough” borders, than an all-over
shroud enclosing the entire volume of structures. This time, echo-
ing Zaera-Polo’s trope of the envelope architecture, the all-over
skin frames and reconfigures the activities inside. 当代的
成像, 屏幕, and cartographic technologies such as drone and
Google map navigation had become key in the prospecting, map-
平, and documentation of sites and projects, and in his video
productions, 也. Exchange Exchanger: No Stopping, No Parking,
No Loading, 1957–2057, a cycle of simultaneous projects in
Accra and Kumasi, 出生于, eclipsing or complicating the more
blue-collar logic of the Occupation series and setting the pace for
Mahama’s mammoth scale mise en abyme projects in which the
artist uses jute sack taken from all major public installations till
日期. Examples are the National Theater Project (如图. 18) and Check
Point Sekondi Loco, 1901–2030. 2016–2017 Torwache, Kassel, 和
more recently, the Porta Venezia gateway installation in Milan
(2019) (如图. 19). Notable in this chapter was his complicated rela-
tionship with dealers and collectors in the international art market,
which expanded the alchemical subtext of his projects beyond the
“new lamp for old” jute sack exchange economy he had inaugu-
rated in Ghana’s local markets.
In the new installation projects, Mahama’s working platform
began to take the form of an editing console on which he per-
formed techniques of sampling, reformatting, and reprogramming
through cuts and recuts, rewinding, 翻译, subtitling, and acts
of repetition which birth difference. Audiences were no more mere
lookers; they were participants in a new form of epic theater. 为了
KNUST Great Hall installation, Mahama used his jute-sack instal-
lation to frame a commemorative event of University officialdom
layered with colonial and postindependence education and social
and spatial histories. He injected performative forms of art into the
rehearsed itinerary of state and university bureaucracy. As part of
the project, he would assist the university chancellor, who is also
the monarch of the Asante State, in a sod-cutting ceremony and
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also give a commencement speech to the congregation of graduat-
ing students inside the jute-sack wrapped Great Hall. It was on the
occasion of the one-week-long annual Congregation series, 哪个
ends with a Special Congregation for Post-Graduate students. 这
Special Congregation is usually attended by the King of Asante and
the President of the Republic of Ghana or his representative.
The Great Hall, the site of the Congregation and Mahama’s
Installation Project, is an Nkrumah-era centerpiece of campus
modernist architecture (如图. 20). It was designed by Danish ar-
chitect Max Gerlach and his British partner Gillies-Reyburn in
the 1960s. It is a flat horizontal in Alejandro Zaera Polo’s typol-
ogy of architectural envelopes and an epitome of façade libre and
plan libre design, a quasi-floating fortress resting on a miscellany
of sturdy cubic piloti. Particular attention had been paid to the
tropical natural lighting of the building through its two registers of
ribbon glass windows and, on the ground floor, a running fence of
striped wood-and-glass doors outlining the entire length of the au-
ditorium. Mahama’s all-over jute sack drapery had made the wall
and roof indistinguishable, blurring or displacing its clean and sure
cubic lines, softening the structure’s obstinacy and also subduing
the inflow of daylight (如图. 21). The building’s volumetric and cast
concrete framework, which seems to embody the rigid bureau-
cratic structure of the institution and affirm its patriarchal and
moral seriousness, remains veiled behind the mournful drapery.
然而, few parts of the coarse khaki-grey terrazzo, its austere blend of
brutalist and modernist cubic design, are exposed to the elements
and return their gaze on onlookers.
The modularity of the jute sack units remains stressed with a
forceful grid-patterned needlework such that the modules seem res-
onant of indelible modernist subtexts in contemporary life. 那里
is also an eerie aura to the giant jute shroud, in its “gothic” modula-
tion of line, pleat, wear, and tear, and in its disassembled color chart
of ruin, oldness, and incompleteness. Parts of the quarter-turn and
spiral staircases of the east wing foyer could be seen through the
worn and torn tapestry, which also doubled as a temporary habitat
for birds, insects, and reptiles. Somewhere, Mahama’s work mode
evokes a clone stamping process in Photoshop, referencing ghet-
toesque sampling points in the literal African city space, duplicat-
ing tone, shade, and dimension; replacing material with material,
object with object, and adjusting opacity with a careful draping
of building parts—concrete walls, glass windows, open corridors,
passageways, sunscreens, and corners in shadow—with pixelated
sacking material. The unmistakable smell of the jute sacks seemed
cordoned off by the air-conditioned auditorium, yet the jute sacks
20 Great Hall. Tropical Modernist Architecture,
Kwame Nkrumah University of Science and
技术, Kumasi. 设计: Max Gerlach and
Gillies-Reyburn, C. 1965
21 Ibrahim Mahama. KNUST Great Hall
Installation Project, 2018. Commissioned by
Vice-Chancellor Kwesi Obiri-Danso for the
KNUST 52nd Congregation Ceremony.
exhibited their optical presence inside through the ribbon glass
windows and doors. The cantilevered and sun-screened corri-
dors of the southern façade and the respective east and west wing
foyers, unmistakably inspired by the geometric logic of Asante
kente motifs, also show through the bruised and torn second skin.
The desaturated kente-esque motifs resonate in Ghanaian architect
Opare Larbi’s façade design of the Prempeh II Library extension,
which shares a manicured lawn with the northern façade of the
Great Hall. The lawn had been an open-access site for Mahama’s
MFA thesis exhibition in 2014, yet this time, in the rainy season,
it was a site barricaded for its preservation, frustrating the artist’s
desire to repurpose the site as a converging point for selfies and
camaraderie. 然而, Mahama’s outdoor video documentary of
past and present public projects continued to be shown to audi-
ences waiting to welcome the colorful procession of Convocation
returning from the Great Hall in pomp and pageantry. Mahama
had prepared the site in such a way that the colorful procession of
Convocation, special guests, and the monarch would link this site
to the ceremony inside the Great Hall.
ACT III: SCENE II
THE STATE, ACADEMIA AND
MONARCHY IN MAHAMA’S THEATER OF
EDUCATIONAL COMMONS
At the 52nd KNUST Special Congregation held on July 14,
2018, the congregants inside the jute sack-draped Great Hall sang
the Ghanaian national anthem and the University’s repertoire of
chorales in unison. On the official program, a solemn Black na-
tional anthem, “Lift Every Voice and Sing,”34 was nested between
the national anthem and the rather light-hearted “Gaudeamus,”
a memento mori which doubles as a bacchanalian song for fresh
graduates going out to face life. This was routine. But this time
something outside the repertoire was introduced by no less a figure
than the chancellor and king of Asante, Otumfuo Osei Tutu II. 它
was the “Kwadwom”35 eulogy, a baroque and slave-trade-era chant
VOL. 54, NO. 2 SUMMER 2021 african arts | 63
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and epic poetry unique to the Asante monarchy. The last time it
featured conspicuously in any University event was at the mon-
arch’s investiture as chancellor; that was thirteen years past. 为了
first time in Mahama’s career, his giant taxidermy installation and
hushed theatrical form had directly encountered Ghanaian aborig-
inal cultural system as cotravelers, with the latter spontaneously
offering a retinue of actors and a grand panoply.
The “Kwadwom” chant was accompanied by ivory horn refrains
performed by an “Ntahera” ensemble of seven horn blowers sta-
tioned in the upper terrace of the west wing foyer overlooking
the central auditorium. The seven “Ntahera” horns— the “seseɛ”
(the sayer), the two “afrɛ” (the callers), the three “agyesoa” (这
responders) and one “bɔsoɔ” (the reinforcer)— weave themselves
into a contiguous chorus. The horn chorus streamed eastwards
over the heads of congregants seated in the auditorium and to-
wards the dais from where the two “Kwadwom” versifiers, Eric
Frimpong and his brother Pius Fofie, sang. The barefoot and bare-
chested bards had taken their place beside the monarch, who was
robed in the chancellor’s ceremonial colors and about to deliver his
speech (如图. 22). One led, the other echoed. They rhymed each line
with a nasal ending which anticipated the consecrated, mournful
and dissonant tones of the Ntahera horn chorus. Intermittently,
the duo would chant a chorus in unison. The archaic Asante-Twi
lyrics express condolences, attest to the Asante king’s distinctive
lineage, and affirm the memorable deeds of ancestors and de-
parted. If Mahama’s installation projects are epitaphs to labor,
the “Kwadwom” chant is an ode to the departed; at this juncture,
Mahama’s practice of invoking the departed in the jute sack patch-
work installation had found resonance in a surviving aboriginal
tradition within a republican matrix. It is a stage framing another
stage—a mise en abyme.
The Asante nation, a former empire, and a nodal point in the
trans-Atlantic slave trade and anticolonial wars, has had not less
than sixteen monarchs since King Osei Tutu I ascended to the stool
加州. 1701. It was from the lineage of this matriclan that KNUST got
its large tract of land, a feat that seems nearly impossible in the
twenty-first century. Back then, it was an act of commoning edu-
cation in the late colonial era. The newly independent state under
Nkrumah updated the colonial college, the Kumasi College of
技术 (KCT), to a republican university, KNUST, 在 1961.
The props and seating arrangements on the dais and the order of
64 | african arts SUMMER 2021 VOL. 54, NO.2
(clockwise from top left)
22 The Chancellor-King Otumfuo
Nana Osei Tutu II giving a Speech at a
KNUST Congregation Ceremony. 在
the foreground is the wooden stool
donated by Otumfuo Sir Nana Osei
Agyemang Prempeh II. It is symbol-
ically guarded by a “linguist” during
Congregation ceremonies.
照片: courtesy kąrî’kạchä seid’ou
23 Wooden stool donated to Kumasi
College of Technology on October
8, 1952, by Otumfuo Sir Nana Osei
Agyemang Prempeh II.
照片: courtesy kąrî’kạchä seid’ou
24 Emblem of the Kwame Nkrumah
University of Science and Technology,
Kumasi
来源: https://en.wikipedia.org/wiki/
文件:Knust_seal.jpg
ceremony are made to tell this story and more. A small commem-
orative wooden stool on the dais, decorated with silver repoussé
and watched over by a kente-clad ceremonial linguist, embodies
this history (如图. 23). It had been presented to the then Kumasi
College of Technology on February 8, 1952, by Nana Sir Agyeman
Prempeh II, a grand-uncle of the chancellor king, who gave the
土地. Nkrumah-era Africanization insignia, such as the KNUST
crest—with its eagle, Nyansapo (“wisdom knot”) stool, 和
adwunu leaf charges, a pair of outside callipers for a shield, 和
African pot of fire for a crest—testify to the deliberate departure
from European heraldry and therefore to cultural self-determina-
tion in the making of the modern republican state and university
(如图. 24). Yet the structure of heraldry still haunts the emblem from
之内. Hierarchies were well-defined in the seating arrangement
and distribution of color. While the elevated dais seated guests of
honor, it was ill-disposed to people with physical disability. 这
chancellor-king, enthroned in the center on an upholstered throne
with volute armrests and spindle stems, was flanked by a line of
personnel which included the vice chancellor and the minister of
教育, who had taken the place of the president.
尤其, the typology of the key congregation songs, 一起
with the “Kwadwom” supplement, echoes the triadic structure of
sovereign power regulating education resources in the Kumasi
university; a christianized republican state apparatus represented
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on the dais by the minister of education and state officials, a bu-
reaucratic academia with African liberation ethos represented by
the vice chancellor and management and student leaders, 和一个
modernizing monarchy represented by chancellor-king and his
entourage. A common issue about public education that concerns
these three figures is how the centralized bureaucratic means of
state governance of public spaces, 商品, 金融, 服务, 和
populations can handle the pressure from neoliberal economic
and political mechanisms which shrink the financing of and
access to public spaces, 商品, and services. The phenomenon of
diminishing the available common, renting it, encroaching it, 的-
vesting it, or abandoning it to rot if deemed unprofitable is more
of a rule than exception. 因此, there was a subtle drama on the
stage when the three figures of educational sovereignty had to take
turns to speak to this subject that Mahama’s recent corpus of work
addresses. On his part, the chancellor-king urged the state to ac-
celerate the expansion of infrastructure projects in anticipation
of an explosion of university student populations in the coming
years due to the government’s free senior high schools policy.
The vice-chancellor made a roll-call of the university’s initiatives
in infrastructure projects through internally generated funds and
called for more state support. As if responding to the monarch’s
(his uncle’s) veiled critique of the state, the minister enjoined all to
think outside the box on infrastructure and suggested to univer-
sity management to make prudent use of existing infrastructure
through creative means like judicious time-tabling and planning of
calendars, and distance learning. His responses to concerns about
the increasing female populations and the possible redesignation
of traditionally male halls into mixed halls animated the audito-
rium with his evasive humor.
EPILOGUE
Just three months later, the drama on the dais played out dif-
ferently in the literal world, perhaps echoing a famous line from
Edward Bond that “If you can’t face Hiroshima in the theater,
you’ll eventually end up in Hiroshima itself.” It is the tragedy of
十月 22, 2018. On this day, KNUST students went on rampage,
concerned about alleged infringement on students’ rights and
the conversion of traditionally male halls into mixed halls. In an
attempt to speak truth to power, violence was unleashed on the
various forms of infrastructure and logistics that had, for them,
embodied the mechanisms of their unfreedom. The domino effect
was a chain of antagonistic events, power struggles, and media-
tions involving the players on the dais representing monarchy,
状态, and academia. The event cast a long shadow on subsequent
policy on public universities perhaps gifting the government the
alibi it had always sought for in its quest to allot more power to
the state at the expense of academia. The university is still recover-
ing from the wounds of October 22nd while the Great Hall stands
unscathed, triumphant in the midst of a scarred university. 在
subsequent congregation, barely six months later, the Great Hall
was jute sack bare and warmer. With Mahama’s second skin off
the Great Hall walls and ribbon glass windows exposed to the sun,
the “Kwadwom” eulogy and Ntahera refrain seem to have been
stripped bare of skin and poise. The chancellor-king, repeating a
line from Maya Angelou, urged graduating students to “give us a
tomorrow more than what we deserve.”36 In this light, Mahama’s
projects and time-machines appear to have been interventions into
that tomorrow which is probably out of date. And he might be re-
membered by the way he describes himself: “a contributor,” not a
philanthropist or a benevolent humanitarian.
Notes
This article forms part of a collection of papers planned at
the Arts of Africa and Global Souths PROSPA publishing
workshop held at Rhodes University, 南非, in No-
十一月 2018. The workshop was funded by the Andrew
瓦. Mellon foundation and the NRF/DSI SARChI chair
program in Geopolitics and the Arts of Africa.
1
See also a counter-critique of A Didactic Spectacle by
the curators of the exhibition, An Age of Our Own Making,
which featured Nyhavn’s Kpalang, in Ndikung et al. 2016.
2 Refer to Mahama’s exhibition Food Distribu-
tion Corporation (K21 Kunstsammlung, Dusseldorf,
德国), an immersive and site-within-site work
that employed sound bites of Ghanaian migrants and
precarious workers who had worked on the project but
had been left behind in Ghana, an Nkrumah-era silo
structure nested in a former parliament building in Dus-
seldorf. See also Mahama’s reflections on Alberto Burri’s
oeuvre in the video #32: Alberto Burri im zeitgenöss.
Kontext: Ibrahim Mahama, https://www.youtube.com/
手表?v=cgdTG9wmt-w. The video was made to accom-
pany Food Distribution Corporation.
3 Mahama’s formative years and professional practice
were nurtured in the KNUST Kumasi Art College under
the auspices of the blaxTARLINES KUMASI team, an art
集体, 社区, and network dedicated to nonpro-
prietary means of making and distributing art. Besides a
solid treatment in postwar art histories, the postmodern,
and the transnational turn of contemporary art, 这
Kumasi curriculum has a special focus on contemporary
collectivist, participatory and politically engaged prac-
泰斯. Among artists, curators, and collectives exposed to
students in their early training are Groupe Amos, Hiwa
K, Huit Facettes, Ruangrupa, Anika Yi, Superflex, 皮埃尔
Huyghe, Groupe Material (纽约), Ala Plastica, Santigo
Sierra, and Critical Art Ensemble. Students are trained
to curate their own shows in the heart of the city and
超过. 截至撰写本文时, Mahama is pursuing a prac-
tice-based PhD with blaxTARLINES.
4
and denotes common or public goods and resources.
The term has come to be associated with the notion
“Commons” has its origins in medieval society
of common rights over public resources. In Žižeks
theory of the antagonism of the commons adapted
by Tupinambá (2017), there are two main sources of
the commons— the commons of nature and culture
分别. The commons of nature and culture are
distributed internally and externally with respect to
humans yielding four categories of commons and their
corresponding components of production: A. external
自然 (raw materials and ecology); 乙. internal nature
(concrete labor, genetic pool, ETC。); C. external culture
(abstracted labor); d. internal culture (social knowledge
and information). In a capitalist universe, the respective
commons deposit these corresponding forms of enclo-
sure, privatization or gentrification: A. land enclosure;
乙. 生物技术; C. structural unemployment; d. intel-
lectual property. 然而, there are these antagonisms
inscribed in the respective commons which either
reinforce the capitalist structure or undermine it: A.
natural and man-made catastrophes; 乙. ethical impasses;
C. monopoly of alienation; d. legal inadequacies.
5 Antonia Alampi in coversation with Ibrahim
Mahama, 2019.
6 The Tesseract is an enormous, hypercubic, gridlike
structure and a means of communication for the bulk
beings to express action through gravity with NASA.
The bulk beings can perceive five dimensions as op-
posed to four and see every moment in the past, 展示,
and future. The bulk beings can influence gravity within
any of those time frames.
7 Besides, the visual spectacle, Mahama’s installations
are noticeably scented. Mahama’s Afro-Gothic leitmotif
of the “smell of ghosts” is also a familiar trope in Amos
Tutuola’s “The Smelling-Ghost” in Palm Wine Drinkard
and My Life in the Bush of Ghosts (Tutuola 1993: 29–35).
8 Agyemang “Dota” Ossei’s water lily painting is titled
in Asante-Twi as Aboa a onni dua no Nana Nyame na
ɔpra neho (1993).
9 同时, Mahama’s valorization of work might
seem outdated when weighed against the trendier
Left Accelerationist visions of postwork and therefore
postcapitalist futures underwritten by full automation
and Universal Basic Income. 然而, his vision finds
support in Alain Badiou’s critique of Alex Williams’s and
Nick Srnicek’s version of postwork and postcapitalist
程序. 的确, the idea of disappearance of work
is not clearly in opposition with capitalism as such.
Postcapitalism is better defined by the end of private
property and waged labor than by the end of work. 还,
work cannot be eclipsed by full automation because
automation itself creates new forms of work. Work is
an indivisible remainder in humanity’s struggle with
external world. Badiou concludes that the idea of the
future as a world without work belongs to the “Western
world” and thus the wanderings of refugees and “surplus
populations” seeking work are not reflected by this
承诺 (Srnicek, 威廉姆斯, and Badiou 2016).
10 Buck-Morss (2002) refers to the reenactments of
the storming of the Winter Palace, scenes from the 1917
October Revolution, in which actors played themselves.
The November 7, 1920 enactment was coordinated by
army officers as well as avant-garde artists, musicians
and directors, including Malevich and Meyerhold.
11 Malabou (2012乙: 14, 16–18) cites Gregor Samsa’s
“becoming-animal” in Kafka’s The Metamorphosis
(1915) as “the most successful, beautiful, and relevant
attempt to approach this kind of accident.” She reiterates
Gregor Samsa’s instant transformation into a huge insect
as a fitting example of an identity that comes from no
past or “psychic consequences experienced by those
who have suffered brain injury or have been traumatized
by war and other catastrophes.”
12 At the point of their failure as vessels, the jute sacks
are surplus, like the shed or molted skins of reptiles and
other animals.
13 There is something to be said about how Mahama
interprets the place of the body in the materiality of
the sacks and its relation to the built environment and
other urban commons. In Anthony Vidler’s Eurocentric
typology, he infers the following schemas of the human
body from architecture and urban planning:
1. The perfect Vitruvian body of the Classical/Renais-
sance regimes,
2. The abstracted bodily sensations corresponding to
healthy states of mind in the Modern regime
VOL. 54, NO. 2 SUMMER 2021 african arts | 65
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3. The enchanted or animated body – the morphed,
disfigured or dismembered body— of the Post-
modern animist regime (Vidler 1990: 3–10).
In all these schemas, it is the notion of a “body present” that
is deduced. 然而, Mahama writes the “absent body,”
the “departed body,” or the “the body disposed” by the late
capitalist apparatus back onto the built environment.
14 Homi Bhabha’s postcolonial reworking of Freud’s
heimlich/unheimlich dyad as the “unhomely” draws
attention to a certain “defamiliarization” perpetually
inhabiting the “familiar.” See Bhabha (1994).
15 Jeremy Rifkin proposes a postcapitalist solution by ret-
rofitting the building envelopes and structures with smart
censors and converting buildings into intelligent edge data
centers through ubiquitous internet of things (IoT) infra-
结构. In this framework, each envelope architecture, 作为
all other buildings in the city, becomes a node in a widely
distributed sharing network of renewable energy and
technologies of communication and mobility—the three
principal ingredients of Rifkin’s Third Industrial Revolution
or Collaborative Commons (比照. Rifkin, 2019).
16 Activist groups such as Gulf Labor Coalition have
drawn attention to the low pay and inadequate housing
conditions given to migrant workers on these projects,
the corrupt and misleading practices of labor recruiters,
and the growing economic and class divides in Abu
Dhabi. The group’s critique of the housing conditions
of Saadiyat Island’s migrant workers in the Saadiyat
Accommodation Village compound, which could hold
最多 20,000 workers is well known.
17 Achille Mbembe uses the architectural metaphor of
“brutalism” to refer to the apocalyptic singularity insti-
gated by the necropolitical capitalist apparatus (Mbembe
2020). The ultimate project of brutalism—through
contemporary dematerialization mechanisms such as
“cracking,” “fracturing,” and aspects of “technological
acceleration” like “computation”—is the transformation
of humanity into artifacts or raw material amenable to
ubiquitous capitalist extraction.
18 As Krauss (1979: 60) 说, the modernist grid, 不
matter the size, scale or number of units is a fragment
“arbitrarily cropped from an infinitely larger fabric”.
因此, Mahama’s patchwork tapestry continues to
explore this emblem of twentieth century modernism.
19 I rely here on a line of thought in Jacques Lacan’s
Écrits, and adopted by the Slovenian School of
Lacanians, 尤其, ŽiŽek, to mean “every word is a
gravestone, marking the absence or corpse of the thing it
represents and standing in for it” (迈尔斯 2003: 83). 看
also Lacan 2005: 126; Dolar 1998: 11–40.
20 Malabou’s “new wounded,” the posttraumatic
主题, embodies the image of the living dead (2012A,
2012乙). According to Joan Copjec (2012), they are dif-
ferent from the “old wounded” of Freudian psychoanal-
分析, the hysterics, in that they are “radically devoid of
reminiscences” and of life’s “meaning too.”
21 As David Harvey notes, “The ever-expanding labor
of making and sustaining urban life is increasingly done
by insecure, often part-time and disorganized low-paid
劳动. The so-called ‘precariat’ has displaced the traditional
‘proletariat’” in the new capitalist economy (2012: xiv).
22 It took the austerity phase of capitalism to disclose
that labor is fundamentally precarious. In this scenario,
labor is indelibly intertwined with dynamics of life and
死亡. Zygmunt Bauman defines this period as “one of
‘liquid modernity’, a society of generalized disposability,
driven ‘by the horror of expiry’” (Bauman 2005: 3; 比照.
布里奥 2009).
23 Jacques Rancière (2009) theorizes that those who
belong but are excluded—the demos, the “part that has
no part,” the universal exception—constitute the subject
of democracy. 政治, or the struggle for emancipation,
begins when the demos itself acts to affirm the universal
premise that “we are all equal.” See Harney and Moten’s
(2013) idea of undercommons.
24 As part of his participation in the Athens chapter
of documenta 14, Mahama undertook internship,
from November 2016–April 2017, with an anarchist
community of squatters, refugees, ethnic minorities,
and sans-papiers occupying the Squatted Prosfygika
tenement. While there, he was involved in mobilizing
funds to restore tenement facilities, attended anarchist
meetings, and participated in their struggles against
coordinated attacks by cops, neo-Nazis, and members of
the Golden Dawn. The Syntagma Square collaborative
performance was an extension of the Squatted Profygika
项目. Mahama was also signatory to the letters writ-
ten to Athens mayor Giorgos Kamini and Greek prime
minister Alexis Tsipras protesting the public killing
66 | african arts SUMMER 2021 VOL. 54, NO.2
of Zak Kostopoulos, the LGBTQI+ activist and drag
performer who was savagely beaten by several men in
central Athens on September 21, 2018.
25 Out of Bounds was Mahama’s first outdoor public
installation in Europe. An artist book publishing project
was launched with contributions from the blaxTAR-
LINES publications team and edited by Osei Bonsu, A
young curator (Bonsu 2015).
26 To paint the gloomy picture of immersion in dark
boiling pitch, the punishment reserved for swindlers, Dante
refers to the Arsenale in The Divine Comedy. The great poet
had visited the Venice Arsenale in early 1321 and witnessed
the legendary shipyard where “unsound vessels” were
under repair. 今天, a plaque in the Arsenale commemo-
rates Dante’s visit with lines from his Inferno:
As in the Arsenal of the Venetians
Boils in the winter the tenacious pitch
To smear their unsound vessels o’er again
For sail they cannot; and instead thereof
One makes his vessel new, and one recaulks
The ribs of that which many a voyage has made
One hammers at the prow, one at the stern
This one makes oars and that one cordage twists
Another mends the mainsail and the mizzen …
(Canto 21, verses 7–15)
还, I use the term “stygian” in the dark, infernal, 和
hellish sense Soyinka uses it in his prison poem “The
Shuttle in the Crypt”; see also Henderson 1990.
27 The scenario recasts a scene in Walter Benjamin’s
Theses on the Philosophy of History, which Okwui
Enwezor quotes as epigraph for the curatorial synopsis
of All the World’s Futures:
Where we perceive a chain of events, he sees one
single catastrophe which keeps piling wreckage upon
wreckage and hurls it in front of his feet. The angel
would like to stay, awaken the dead, and make whole
what has been smashed. But a storm is blowing from
Paradise; it has caught itself up in his wings and is so
strong that the Angel can no longer close them. 这
storm drives him irresistibly into the future, to which his
back is turned, while the rubble-heap before him grows
sky-high. That which we call progress, is this storm
(Benjamin 1969b: 257–58, qtd. in Enwezor 2015).
28 Mahama’s successive walkthrough installations in
Ghana—the Adum Central and Adum-Kejetia (Kumasi)
railway footbridge projects (2013 和 2014)—prefigure
that of Out of Bounds.
29 I owe this expression to de Certeau (2011: 97).
30 “Commoning” is a term popularized by Linebaugh
(2009). It is the process of reclaiming a resource, 制作
it a commons, and creating a community to manage such
resource. Commoning is thus a set of social practices
entailed in the process of establishing and governing a
commons. These practices entail, for the community
of commoners, the creation of a new way of living and
acting together, thus involving a collective psychological
转移; it also entails a process of subjectivization, 在哪里
the commoners produce themselves as common subjects
(Federici 2012; Euler and Gauditz 2017).
31 In a reflection on the jute-sack material (Mahama
2018), he says of the jute sacks:
I was first of all drawn to this material in terms of
“the common”: In Ghana almost every home has it. 它
has a lot of uses. When you take a bus on a rainy day
and you need to clean the mud off your feet there is
a jute sack there to do that work. If there is a fire you
can quench it with a wet jute sack. I was drawn to its
function and later on also for its aesthetics when being
used for transporting charcoal. You find different
points of aesthetics within the surface of the sacks’
fabric: some areas have turned white which means
they have been outside for 6–7 months. The aesthetics
of the sacks are acquired over time, from its various
拥有者. I am interested in how crisis and failure are
absorbed into this material with a strong reference to
global transaction and how capitalist structures work.
32 According to David Harvey, Capital ruthlessly feeds
upon and extracts rents “from the common life that
others have produced” (2012: 78).
33 I appropriate this phrase from Birago Diop’s
“Breaths [Forefathers]” (1960): “The dead are not gone
forever/They are in the paling shadows/And in the dark-
ening shadows …” (反式. 摩尔 1963). David Harvey
also refers to public spaces, public goods and other
urban commons as the “shadow-form” of urbanization
(2012: 80). I extend Diop’s and Harvey’s “shadow” trope
to encompass precarious human inhabitants of the
city whose labor conditions are encoded into the city
infrastructure and into Mahama’s projects.
34 “Lift Every Voice and Sing” is a hymn by J. Rosa-
mond Johnson (作曲家) and James Weldon Johnson
(lyrics), two African American brothers of the Harlem
Renaissance Era. It was the theme for a sculpture by
Augusta Savage for the 1939 New York Art Fair.
35 The provenance of “Kwadwom” in Asante oral
tradition traces the form to the insanity of one Kwaw,
a courtier in the palace of King Osei Tutu I (born c.
1660—died c. 1717) who used to chant very soulful
verses during his struggle. The king canonized Kwaw’s
songs and ruled that these songs should be sung to him
in times of war, or whilst presiding over official duties
of the state, or during festivals and durbars. The senior
nursing sister at the king’s palace, who served as the
official curator of the elegies, taught her descendants
about the art of singing the “Kwadwom.” Till date,
the custodians of “Kwadwom,” Ɔpanin Kofi Fofie and
Ɔpanin Kwame Ɔboɔ, are the direct descendants of one
senior nurse Nana Daakowah (Agyeman-Duah 1976;
Ampene and Nyantakyi III 2016).
36 Maya Angelou’s commencement speech at the
University of California Riverside 1977 graduation.
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