Flow of Forms/ Forms of Flow in Hamburg

Flow of Forms / Forms of Flow has opened in Hamburg! Countering the usual representations of historical cultures and ways of life in rural Africa, the Museum für Völkerkunde Hamburg focuses with Flow of Forms on the contemporary culture of the continent. For further information, events, tours and other updates please check: www.voelkerkundemuseum.com


Announcement to the publication „flow of forms/ forms of flow“

Our project will reach the next level: in April our book „flow of forms/ forms of flow. Design histories between Africa and Europe“ will be published.

The continuation of our exhibition opens on 5 April in Hamburg in the Museum für Völkerkunde. More information soon!



„Flow of Forms / Forms of Flow. Designgeschichten zwischen Afrika und Europa“ ist noch bis einschließlich Sonntag, den 12.3. an vier verschiedenen Orten in München zu sehen. Während der letzten Ausstellungstage gibt es Führungen durch die Kurator_innen:

Donnerstag, 09.03.
16.30 Museum Fünf Kontinente
17.30 Kunstraum
18.30 Galerie Karin Wimmer
19.00 Architekturmuseum

Samstag, 11.03.
15.00 Museum Fünf Kontinente
16.00 Kunstraum
16.00 Galerie Karin Wimmer
17.00 Architekturmuseum

Sonntag, 12.03.
13.00 Museum Fünf Kontinente
14.00 Kunstraum
15.00 Galerie Karin Wimmer
16.00 Architekturmuseum

Installation views

Foto: Thomas Splett

at Kunstraum München

Forms of Cooperation/Participation directs its attention to the social and political dimension of form that results from collaborations, entanglements, exchange, and dialogue. Here we wish to examine the impact of artefacts and the effectiveness of the collective. We also ask whether artefacts enable an experience of the social or political dimensions. A workshop in Bamako, Mali (summer 2016) aims at critically reflecting on these different approaches with regard to ambivalences and potentialities.

With: Paolo Cascone, Matali Crasset & Bulawayo Home Industries, Cucula, Cheick Diallo, Front & Siyazama, Kër Thiossane
Karo Akpokiere: edition of three drawings from the Lagos Drawings series

Foto: Thomas Splett

at Kunstraum München

Kunstraum München’s new Edition of works by Nigerian born artist Karo Akpokiere

Foto: Thomas Splett

at Architekturmuseum

With: Kossi Aguessy, Cladlight, Fundibots, Wanuri Kahiu, Markus Kayser, Lumkani, Michael MacGarry, Abu Bakarr Mansaray, Jean Katambayi Mukendi, Rethaka, Studio Sikoki, Jules Wokam, Kader Attia, Vincent Michéa, Studio Sikoki, Obiora Udechukwu

Foto: Thomas Splett

at Museum Fünf Kontinente

Forms of Modernity examines the significance of foreign objects (in this case objects from Africa) for the quest of form in European modernity. In early 20th century’s products innumerable objects reveal the aesthetic adoption of non-Western design characteristics. The station ‘Forms of modernity’ looks at the influence of African objects on modern design.

With: Black Coffee, Formafantasma, Simone Post, Wendy Grossman, Sammlung Osthaus, Margaret Trowell

Foto: Thomas Splett

at Galerie Karin Wimmer

Knitwear MaXhosa by Laduma and Xhosa pearl objects (Museum Fünf Kontinente)

With: Yinka Ilori, Emo de Medeiros, Eric van Hove, David Adjaye, Marjorie Wallace for Mutapo Pottery, Laduma Ngxokolo, Dokter and Misses, Fatimah Tuggar, Sonya Clark, Nora al-Badri & Jan Nikolai Nelles and Palash Singh for STEP/ The New Basket Workshop

Cheick Diallo

Cheick Diallo, Table Caba, 2012, Metall und Nylonschnur.

One of the foundational premises of Cheick Diallo’s designs is the radically contemporary nature of his creations. He rejects products which are anecdotally or nostalgically based on stereotypical “signs of the African”.

Born 1960 in Mali and trained as an architect and industrial designer in the 1990s in France, in 1997 he founded Diallo Design and in 2004 the African Designers Association. His furniture and objects, which can be found in numerous international collections, often have their point of origin in the long-established and day-to-day trades of West African cities, especially Bamako: these trades encompass silver forgery, tannery, weaving, textile dyeing, and scrap metal processing. With the aim to productively juxtapose these different trades, his designs disrupt the boundaries of traditionally separate métiers: for his chairs and side tables he transfers techniques used for dyeing textiles to leather, and mixes them with the tréssage method; his cutlery series follows from a collaboration between Tuareg silver smiths and ivory carvers.