Weekend Reading—Behind Ibrahim Mahama’s Fragments at London’s White Cube Gallery, Part 1

The star Ghanaian visual artist continues his meteoric rise with a new show at one of London’s top galleries

Editors Note: OkayAfrica’s UK correspondent, Sabo Kpade, gets deep with Ibrahim Mahama for our first edition of Sunday Reading. This is part 1 of 4.

For his first solo exhibition in the UK titled "Fragments," Ibrahim Mahama has made, among other things, a colossal structure called Non Orientable Nkansa made of cobbler’s boxes that have been broken down and reassembled.

This continues his investigation into the life cycle of materials which I first came across at Saatchi Gallery’s “Pangaea” exhibition in 2014, a broad survey of art from Africa and Latin America.

Of the many works from such a diverse group of artist, Mahama’s installation stood even farther afield on account of being simple and imposing in a huge dim-lit space with its walls draped with jute sacks.

Several physical factors—ambience, contrast of one’s size to the high-ceilinged space, how unadorned it was (despite being a drape)—combined to make a big impression.

Ghana is the world’s second largest producer of cocoa and these jute sacks, made in Southeast Asia, are used to transport the produce, after which its use multiplies to include storing and transporting grains, and other utilities.

The works for Pangaea were untitled or called “untitled.” Three years later and on show at White Cube, the newer ones have distinct names - Gemtun Boxe and Issaka Bob - less imposing than the previous ones, but no less impressive.

Other works include a wall of birth certificates and a 15 minute video installation of his collaborators as they execute the tasking job of stitching together and covering with sacks Ghana’s National Theatre.

These are busy times for Mahama and as if to further illustrate this point, our scheduled interview had to be moved hours later as he had to respond to an emergency to do with his work at Documenta in Athens (which opened on April 8th) and which has become his base outside Ghana.

Ibrahim Mahama's work at Documenta in Athens. Courtesy of the artist.

His work in Athens deals with the nuances of his practice and opens up his production process to the public by producing in Syntagma Square. He attempts to draw a relationship between spaces in Athens which are either functional or dysfunctional.

As an interviewee, Mahama is very engaging. He listens patiently even when questions are rambled and is articulate and generous with his answers. It’s as if he’s keeping control precisely by ceding it to the interviewer.

This interview has been condensed and edited.

Your first UK solo exhibition Fragments in London opened in March and then there's Documenta in Athens in April and your PHD and more. Are you typically this busy?

I’m really looking forward to that time when I’ll have some peace but I don’t think it’s possible now. I’m working to create this kind of space for myself so at least when I eventually go back to Ghana, in a couple of months to settle back down, I will travel as less as I can so at least I can do more things back home.

Two years ago at 27 you exhibited at the Venice Biennale and at Saatchi Gallery in London as part of Pangaea. Two year later at 29 you're having solo exhibitions at prestigious galleries. Has this art world been all embracing or has there been opposition?

The art world has been embracing as well as a difficult one to navigate. What keeps me sane is my independent practice. At the end of the day, no matter the number of institutional shows you are invited to participate in, that is what keeps your practice alive. I must also admit it has been a bit overwhelming but I've been very fortunate in the art world.

Anyways I had a very good training in Art school ‘K.N.U.S.T Kumasi’ and that accounts for everything i have done so far. The age factor has been demystified now—all an artist needs is to develop his/her ideas and propose new experiences as well as the aesthetics.

Part 2 comes out next week.

Sabo Kpade is an Associate Writer with Spread The Word. His short story Chibok was shortlisted for the London Short Story Prize 2015. His first play, Have Mercy on Liverpool Street was longlisted for the Alfred Fagon Award. He lives in London. You can reach him at

Image: Courtesy TIFF

Jenna Cato Bass is Capturing the Horrors of an Unhealed Nation

The film marks the South African director's third debut and stride towards making a name for herself in the international film circuit.

Ever since premiering her debut film, Love the One You Love, which won the Best Feature Film at the Jozi Festival in 2015, Jenna Cato Bass has been a name to watch on the international film festival circuit. Her 2017 feature, High Fantasy, was the first of her films to land on the Toronto International Film Festival (TIFF) lineup, followed by Flatland in 2019. Her latest offering, Mlungu Wam (Good Madam), debuted at TIFF in September of 2021 — marking her third time at the esteemed Canadian film event.

Often provocative, always thought-provoking, Bass' films have come to establish her as a director who looks at South Africa's youth, the lives they're living and the future that awaits them, with a nuanced, open-minded lens. For the first time in her career, Bass uses the genre of horror to dig into an enduring mark of the country's past — that of the fraught, complex relationship between madam and domestic worker, in Mlungu Wam (Good Madam). Set in Cape Town, the film follows the unusual, disturbing things that start happening when a young woman moves back in with her estranged mother, who is the longtime caretaker for a rich, white household.

Bass also co-wrote the film Tug of War (Vuta N'Kuvute), which became Tanzania's first film to be selected for TIFF this year, and she co-wrote Rafiki, which was Kenya's first film at TIFF in 2018.

She spoke to OkayAfrica about playing in a new genre and her hopes for African cinema.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF

This story revolves around the relationship between a domestic worker and her 'madam.' What made you want to make a film about this subject?

When I make films, I like the concept to revolve around something that we all have in common - because, despite the many fractures in our society, these shared places exist. And in South Africa, we felt that everyone - in some way or another - has been deeply affected by domestic work and domestic workers, who are a keystone in our society's structure. Additionally, the 'maid' and 'madam' relationship is the ultimate symbol of race relations in South Africa - as well as how they haven't changed significantly, despite almost thirty years of democracy. So a domestic worker was the perfect character around which to centre a South African horror.

The genre of horror works really well to explore this subject and tell this story — when did you know it would be the genre you'd want to use?

The early stages of developing a film aren't always linear for me. I'll be thinking about a genre I'm interested in, and then parallel to that I'll have an idea for a story or a character, and later on, will realize that these pieces all fit together. In this case, I'd been wanting to make a horror film for ages, but hadn't found the right story… until I had the idea for Mlungu Wam, and I realized I was finally ready to try this genre.

What challenges did you face in making a horror?

It was my first time working in this genre, and it was intimidating because there's no saving you if you fail. We were also working on a very, very limited budget, so it wasn't possible to show as much as we'd like to - but then again, this story was all about the subjective and the unseen, so I did as much research and planning as we could, and just had to trust it would work.

Where did you film, and did that have any impact on the process at all?

We filmed in a house in Cape Town, in a gated community in the Southern Suburbs. The house and the environment had a major impact on the film - especially because we were also quarantining there for the full 7 weeks of rehearsal and shooting. The house was our set and our accommodation, so it was very intense, very claustrophobic, and very triggering for many of our team members.

How did you and co-writer Babalwa Baartman work on the story? You've included cast members in the writing process in your previous work — did you do that here too?

Mlungu Wam was made along similar lines to my first two films, Love The One You Love and High Fantasy, where we started with an outline, cast actors, then workshopped the characters collaboratively before completing the story breakdown and using improv for the dialogue. Babalwa and I had worked together using this method on a short film we made in 2019 called Sizohlala. She really understands the process, and it was a really rewarding experience exploring the story with her and our cast.

How did Kristina Ceyton, who produced the excellent acclaimed horrors The Babadook and The Nightingale, through Causeway Films, come to be involved in this film?

I had met Sam Jennings, who is also a producer with Causeway Films, several years ago at a festival. We really connected and kept in touch over the years, sharing our work, and hoping there'd be a chance to collaborate. So when we were developing Mlungu Wam, I pitched her and Kristina the concept and they were immediately supportive. It has been a massive pleasure working with them both.

Your films are known to venture into themes of identity and healing from the past — how does this film speak to that?

Mlungu Wam is definitely about this too - it's a story about three generations of women (actually four, if you include Tsidi's grandmother, who is an unseen character in the film), how they are haunted by the past and eventually refuse to remain chained any longer. Their healing is collective, linked to each other, and wouldn't be possible for them alone as individuals.

Still from Bass's film Mlungu Wam Image: Courtesy TIFF

You've been at TIFF before - how has your experience of it been this year, with it being a hybrid of virtual and in-person?

Things have been quieter and a bit harder to navigate, but the TIFF staff have done incredible work getting the festival off the ground, despite endless challenges. It has felt very surreal to be here, and a privilege - and inspiring too, that we can still get together to celebrate films, even though our world is in such a mess. We had over 200 (socially distanced) people at our last screening, and that was an amazing feeling.

Yours is one of few African films on this year's line-up - is there anything you'd like to see happen to try improve that?

Regarding African cinema, TIFF has a real range of films this year, across several sections. Compared to many other festivals, they seem really invested in supporting cinema from the continent. Of course, this could be better, but it's also an example to other festivals who claim there aren't enough African films, that this is clearly not the case.

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