Curatorial Intensive in Dakar: Public Symposium

Curatorial Intensive in Dakar: Public Symposium
Sunday, June 5, 2016

RAW Material Company - Zone B
Villa 2B, Zone B
Dakar, Senegal
FREE and open to the public

The participants of Curatorial Intensive in Dakar will each present their exhibition and project proposals they have workshopped throughout the course of the week.

* Please note, this symposium will be held in French and English. *

Symposium Schedule
Session 1: 10:00–11:30am [presentations in FRENCH]
Break: 11:30–11:45am
Session 2: 11:45am–1:15pm [presentations in ENGLISH]

The Curatorial Intensive is a weeklong professional development program that brings together emerging curators for the opportunity to exchange ideas, develop their curatorial practice, and learn from their colleagues. Please see the program details for more information.

Participants include: Taylor Renee Aldridge (Detroit, MI), Tandazani Dhlakama (Harare, Zimbabwe), Clémentine Dramani-Issifou (Paris, France), Serigne Ousmane Fall (Dakar, Senegal), Yvon Langue (Marrakech, Morocco), La Keisha Leek (Chicago, IL), Fadzai Veronica Muchemwa (Harare, Zimbabwe), Aliou Ndiaye (Dakar, Senegal), Amy Sall (New York, NY), Moses Serubiri (Kampala, Uganda), Marisol Rodríguez (Paris, France and Mexico City, Mexico), and Sadie Woods (Chicago, IL).

This event is free and open to the public, though seating is limited. Please RSVP to .(JavaScript must be enabled to view this email address) with SYMPOSIUM in the subject line.

June 5, 2016

RAW Material Company - Zone B
Villa 2B, Zone B
Dakar, Senegal


Taylor Renee Aldridge

Taylor Renee Aldridge is a writer and independent curator based in Detroit, Michigan. She has organized exhibitions with the Detroit Institute of Arts, Detroit Artist Market, Cranbrook Art Museum, and The Luminary (St. Louis). In 2015, along with art critic Jessica Lynne, she co-founded ARTS.BLACK, a journal of art criticism for Black perspectives. Her writing has appeared in Artforum, The Art Newspaper, Art21, ARTNews, Canadian Art, ContemporaryAnd, Detroit MetroTimes,  Hyperallergic and SFMoMA’s Open Space.

Taylor is the recipient of the 2016 Andy Warhol Foundation Creative Capital Arts Writers Grant for Short Form Writing and the 2019 Rabkin Foundation Award for Art Journalism. She has earned a M.L.A from Harvard University with a concentration in Museum Studies and B.A from Howard University with a concentration in Art History.

Tandazani Dhlakama

Zimbabwean born, Tandazani Dhlakama, is an assistant curator at Zeitz MOCAA.  She joined the museum in 2017 and has been involved in the Zeitz MOCAA Centre for Art Education as Education Manager with special focus on public programming and tertiary engagement. She recently curated Witness: Afro Perspectives from the Jorge M. Pérez Collection at El Espacio 23 (2020), Five Bhobh: Painting at the End of an Era (2018) and co-curated Nobukho Nqaba’s Izicwangciso Zezethu… (2019) at Zeitz MOCAA.

Before joining Zeitz MOCAA, Dhlakama worked at the National Gallery of Zimbabwe (NGZ) in Harare where she held various roles between 2011 and 2017. Recently she held the position of Curator of Education and Public Programming. During her tenure, at the NGZ, she was the conference coordinator for the 2nd International Conference on African Cultures (ICAC 2017) which took place in Harare.  At the NGZ, Dhlakama was involved in curating several exhibitions including, Engaging with “the Other” (2013), Women at the Top (2014), ZimbabweIN Design (2014 and 2017), Dis(colour)ed Margins (2017) as well as several annual schools and colleges exhibitions.

In Harare, Dhlakama co-curated These Images Are Stories (2017) in collaboration with British Council Zimbabwe, Zimbo Jam and Impact Hub Islington in Harare. Dhlakama worked as curator at Tsoko Gallery, an independent art space in Harare, where she curated their inaugural exhibition Beyond the Body (2016) and was involved in the establishment of the space. Dhlakama has worked as Gallery Assistant at the Richard F. Brush Art Gallery, St. Lawrence University (2008-2011) and interned at Microspazio Disponibile Art Gallery, Italy (2009), Tizianos Art- Kreemart, USA (2011) and East Street Arts, UK (2015).

Dhlakama has participated in various curatorial intensives in Africa, including, the Independent Curators International (ICI) Curatorial Intensive in Dakar, Senegal (2016), the Zeitz MOCAA Curatorial Training Program in Cape Town, South Africa (2015) and the New Ideas, New Possibilities Curatorial Forum and Workshop in Bulawayo, Zimbabwe (2013).  Dhlakama has contributed to the following publications, Plasticity of the Planet: On Environmental Challenge for Art and Its Institutions, Something We Africans Got, Africanah, The Herald Newspaper, Panorama, Jewel, Stitch and Artlife magazines.

Dhlakama is Beit Scholar. She holds an MA in Art Gallery and Museum Studies from the University of Leeds, UK (2015) and a BA in Fine Art and Political Science, Magna Cum Laude from St. Lawrence University, USA (2011).

Clémentine Dramani-Issifou

Independent curator and researcher, F. Clementine Dramani-Issifou is graduated from Sorbonne University in Media, Economics and Urban Planning. She practices curating as an expanded creative field and experiments with the political aesthetics, social living, in dialogue between the visual arts, literature, thought, cinema and urbanism. She promotes an integrated and multidisciplinary approach to all forms of creation, with emphasis on research, production, training and dissemination to construct new formulas cutting across disciplines. She initiated the Festival des Nouveaux Cinemas Documentaires on African contemporary films and video art, in Paris, Porto Novo, Lome and Phnom Penh. Since January 2017, she is the curator of ä f r o t o p i ä, a curatorial platform she created for Afro-cosmopolitan visual arts, cinema and thought ( In 2018, she published an essay « Curating African films : a transpoetic of the African presence to the World ». In 2018-2019, she is researcher in residence at the School of Fine Arts in Clermont-Ferrand (France). Her research is about « African cinemas », « interstitial cinemas » and African descents representation in collective consciousness. She is regularly invited in France, in the USA to talk about these topics in museums and universities. She is currently doing a Ph D.

Serigne Ousmane Fall

Serigne Ousmane Fall is based in Dakar, Senegal. He graduated in industrial design and logistics management. He has almost 10 years of professional experience in design, organization, and operation management in the fields of art, design and local crafts between France and Senegal. He is Founder and Director of a gallery space in Dakar called Falia, which is dedicated to finding and promoting quality designed furniture and fine arts, produced by talented artists and craftsmen based locally. Passionate about visual art and design, he has developed a curatorial practice through the exhibitions he has organized in the Falia showroom in Dakar, including the recent off exhibitions for the DAK’ART fair (2016 Edition).

Yvon Langue

Yvon Langué is co-founder—with Soukaina Aboulaoula—of Untitled, an Editorial design, Art Direction, and Curatorial duo based in Marrakech, Moroccco. As a collective, Untitled was a fellow at Raw Académie Session 4—Corpus Callosum, directed by Tracey Rose, Raw Material Company, Dakar, 2018. Yvon has successively worked as exhibition assistant at the Marrakech Museum for Photography and Visual Arts, and curatorial/editorial assistant at Kulte Gallery & editions, Rabat. Fond of the connectedness of ideas and topics at the crossroads of art, theory and social sciences, he gives a workshop on ways of seeing the history of photography in Africa, at the Marrakech School of Visual Arts. Yvon guest-curated “MIGRATIONS. RÉCITS. MOUVEMENTS.”, a display of migrants videos works exploring issues of togetherness, displacement, loss, heritage, identity and diversity, with the group Edinburg Research group Arts for Advocacy, at La Villa des Arts—La Fondation ONA, Rabat, dec. 2017.

La Keisha Leek

La Keisha Leek is a Brooklyn-based arts professional and Manager for the Kenan Project in Public Programs and Engagement at The Metropolitan Museum of Art. Prior to relocating to NY, she produced exhibitions and projects throughout the City of Chicago. She was a Gaylord & Dorothy Donnelley Foundation Curatorial Fellow (2016) and a Chicago Artists Coalition HATCH Projects Curatorial Resident (2014-2015). From 2012-2015, she was the Executive Administrator and Special Projects Manager to Theaster Gates where she provided day-to-day administration to the artist, in addition to coordinating programs and visiting artist residencies. Her publication How to Make A Hood (Candor Arts, 2015) is a meditation on the misconceptions of Black bodies and their environment, and lives as an extension of the 2014 exhibition of the same title. The publication has been acquired by special collections including The Joan Flasch Artists’ Book Collection, School of the Art Institute of Chicago; Robert B. Haas Family Arts Library, Yale University; Houghton Library, Harvard University; Pacific Northwest College of Art; Thomas J. Watson Library, The Metropolitan Museum of Art; and New York Public Library. She received her BA in Art History from Columbia College Chicago.

Fadzai Veronica Muchemwa

Fadzai Veronica Muchemwa is a researcher, writer and curator from Harare, Zimbabwe. Currently, she is a Masters researcher in the Arts of Africa and Global Souths research programme in the Fine Art Department at Rhodes University. Her research explores new communities of protest and transgression, histories of cities, topographies of knowledge production and sites of transition. She was Curator for Education and Public Programming at the National Gallery of Zimbabwe from 2017-2020, and Assistant Curator from 2016-2017, where she co-curated Moulding a Nation: The History of the Ceramics Collection of the National Gallery of Zimbabwe (2018–2019), Dis (colour)ed Margins (2017), Culture in Communities (2016), and Jazzified: Expressions of Protest (2016). In addition, she curated The Unseen: Creatures of Myth and Legend, an exhibition of artworks by Isaac Kalambata at the Lusaka National Museum in 2018. As visiting curator at the Bag Factory in Johannesburg in 2019, she produced the publication Curating Johannesburg: rest.less, under siege/in transition. Muchemwa is a 2017 fellow of the International Training Programme at the British Museum. She is a collaborator for Independent Curators International and the Zimbabwe Pavilion at the International Art Exhibition in Venice

Aliou Ndiaye

Aliou Ndiaye is a curator and researcher of African artistic creations in the context of transnational mobility across 6 European countries. This fieldwork research observes the evolutions of contemporary African art in the context of globalization and cultural diversities. Ndiaye received his Bachelor’s degree at the National School of Arts, Senegal, in 2001, and a Master degree in Journalism, in Senegal, and an Advanced Master’s in Intercultural Communication (Lugano University, Switzerland). From 2001 to 2005, he worked as a journalist at a Senegalese daily news publication where he wrote stories on culture. He published numerous articles in the Afrik’arts review (Dakar Biennial) and also contributed to the “Dak’art” daily news, Dak’art Actus, from 2002 to 2010. In 2014, he supervised and served as Head Editor of the Dak’art Actus. Member of the International Association for Art Critics (AICA) since 2004, he is an individual member of Society for Intercultural Education, Training and Research (SIETAR, Switzerland), since 2015. He contributed writing for the associated art critics on the exhibition Cissé & Toguo (Galerie Manege, French Institute, Dakar, 2010), at the Biennale de la Photographie (Bamako, 2011) and the project Rencontres d’arts des Ateliers Sham (Brazzaville, 2012), and for the exhibition Chambre des années 50 with the artist Serin Ndiaye in 2013. He is interested in visual culture, language, and cultural frameworks linked to visual arts in the postcolonial context.

Amy Sall

A recent graduate from Columbia University’s Graduate School of Arts & Sciences, Amy Sall holds a master’s degree in Human Rights Studies, concentrating on the right to development and youth empowerment in Sub-Saharan Africa. Sall is concerned with issues particularly pertaining to the economic, social and political exclusion of African youth. She received her BA in 2012 from The New School University in Culture and Media Studies, with a concentration in Cultural Studies and a minor in journalism. She is Founder and Editor of SUNU: Journal of African Affairs, Critical Thought + Aesthetics, a forthcoming online platform and print journal seeking to amplify the youth voice and perspective within the domain of Africa and the diaspora. With a keen interest in cultural studies, African affairs and artistic expression, Amy Sall is also interested in the ways in which media, visual culture and critical theory inform, shape and encourage discourses surrounding the socioeconomic, political and cultural.

Serubiri Moses

Serubiri Moses is a writer and curator who lives in New York. He is co-curator of Greater New York 2020, MoMA PS1’s survey of contemporary art.
Moses was part of the curatorial team for the Berlin Biennale X (2018). From 2013 to 2017 Moses traveled extensively to participate in curatorial residencies, conferences, and juries across Africa, Asia, Latin America, and Europe. In 2015, Moses held the position of Stadtschreiber at the Bayreuth Academy of Advanced African Studies and in 2014 he co-curated the second public art biennial in Kampala, KLA ART, entitled Unmapped, and organized a four-volume public program at the Goethe Zentrum Kampala. From 2011 to 2012 he was a critic at the Ugandan daily newspaper New Vision Daily. With his interests ranging from historical narration, African feminist theory, indigeneity, and iconography, Moses is currently an associate researcher in “African Art History and the Formation of a Modern Aesthetic,” a long-term project founded by the Bayreuth Academy of Advanced African Studies in Germany. Recent texts and conference talks include: “Counter-Imaginaries: ‘Women Artists on the Move’, ‘Second to None’, and ‘Like a Virgin …’” in Afterall 47 (2019); FESTAC ‘77: Second World Black and African Festival of Arts and Culture (2019); “The Hiss and Steam of a Pot of Blood,” commissioned by Haus der Kulturen der Welt as part of Hubert Fichte: Love and Ethnology (2018); Women on the Move (1985-2015): A Comparative Study (2017) at Para-Site International Conference in Hong Kong; the 17th Triennial Symposium on African Art of the ACASA (Arts Council of the African Studies Association) in Accra, Ghana (2017); “La Vida del Plátano” (2016); The Use and Abuse of History, organized by the School of Oriental African Studies (2015); and the 41st annual meeting of the African Literature Association in Bayreuth, Germany (2015). Moses completed his Master of Arts in Curatorial Studies at Bard College, and is Adjunct Assistant Professor in the Art Department at Hunter College.

Marisol Rodríguez

Marisol Rodríguez (Ciudad de México, 1984) is a writer, editor and curator in the crossroads of cultural history, popular culture and contemporary art. She is a researcher of Mexican comics and the intersections between comics and art, having lectured, published and curated internationally on the subject. She currently lives in Paris, where she is director of gb agency. She combines this work with her own independent projects, most recently as guest curator of the 13th Dakar Biennale under the artistic direction of Simon Njami.  In 2015 she was a fellow of the cultural journalism program at the FNPI, Fundación Gabriel García Márquez Nuevo Periodismo Iberoamericano in Colombia; in 2016 she was a fellow of Independent Curators International’s Curatorial Intensive in Dakar. She holds a Masters in Culture, Criticism and Curation from Central Saint Martins.

Sadie Woods

Sadie Woods is an award-winning post-disciplinary artist, curator, and deejay who has showcased her myriad of creative practices from academia to nightclubs, boutiques to museums. She is the Co-Founder and Artistic Director of The Petty Biennial, Co-Founder and Creative Director of Selenite Arts Advisory, and a 2020 recipient of the City of Chicago’s Department of Cultural Affairs and Special Events Esteemed Artist Award. Woods is currently Faculty at the School of the Art Institute, and Residents Orchestrate Project Manager at the Chicago Sinfonietta. She has exhibited her work and performed nationally and internationally. Publications include Harald Szeemann Méthodologie Individuelle published by JRP Ringier with Le Magasin—Centre National d’Art Contemporain de Grenoble, in collaboration with the Department of Curating Contemporary Art at the Royal College of Art, London.

FB: @sadiewoods

IG @woodsadie


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