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Lecture Thinking Towards Decolonial Curatorial Practices at Framer Framed, Amsterdam

On March 8th we celebrate International Women’s Day! We will pair up with Meer dan Muze ("More Than Muse"), a joint initiative in Amsterdam led by Mama Cash, which aims to highlight the creative work of women on March 8th.

Framer Framed presents two exhibitions by female makers, including an opening party and a lecture by Chandra Frank. 

♀ OPENING EXHIBITION AKONA KENQU + COCKTAILS ♀

Time: 18:00

Location: IJzaal (at the Tolhuistuin, near Framer Framed space)

“I don’t worry about things like male dominated whatever’s. […] I sometimes get people saying “Oh I thought a guy photographed this” but then what does that mean? I am always left a bit puzzled because what is it to photograph like a woman or a man?”

Join us for homemade Mimosa cocktails at the opening party of exhibition Society! Society is a collaboration between Framer Framed and Market Photo Workshop (South Africa), and features works by South African photographer Akona Kenqu (b.1987). In her body of work, Kenqu explores the daily lives, identities and roles of skaters in contemporary Johannesburg. Her photographs will be shown throughout the public halls of the Tolhuistuin, surrounding the Framer Framed exhibition space. 

THINKING TOWARDS A DECOLONIAL CURATORIAL PRACTICE

The opening of Society is accompanied by a lecture by Chandra Frank (PhD candidate at Goldsmiths), who is curating a two year project for Framer Framed (Re-(as)sisting Narratives), on the relationship between South Africa and The Netherlands. 

In her lecture, Frank talks about what it might mean to adopt a 'decolonial curatorial approach'. What does decoloniality mean, and is it a useful framework? How can we undo coloniality that is embedded in the existence of the Western museum space? Curating exhibitions in Western countries on the global South is tied up with the politics of memory-making. What are the considerations of a curator presenting works that include the neglected memories of the global South? And who is served in the inclusion of those memories, particularly in Western cultural institutions?