Tumgik
#nana oforiatta ayim
burntsoft · 11 months
Text
Tumblr media Tumblr media
"I mean, a lot of these spaces [museums], if they were truly to decolonize, they would have to eat themselves up; they would have to basically destroy themselves in order to rise again."
3 notes · View notes
keanuquotes · 2 years
Text
https://www.futureverse.xyz/foundation
Tumblr media
Dear friends,
I am writing you to introduce you to a new collective initiative, The Futureverse Foundation.
Several years ago, I met a visionary human, collector and grantLOVE supporter, Rahilla Zafar. Through her humanitarian work across Pakistan, Afghanistan, and the Middle East, Zafar had became fascinated by how Ethereum and blockchain technology could empower people, particularly the underbanked and unbanked, in ways that were never possible before. Zafar and I developed a friendship and she introduced me to Aaron McDonald and Brooke Howard-Smith of Non-Fungible Labs, a New Zealand-based creative technology studio. Not only did she regard them as the best builders in the Web3 space but also ones that shared our values. Together, we explored the idea of making NFTs, and it wasn't long before we discovered we had similar hopes to make the world, IRL and online, a more inclusive and diverse place. It's through these conversations and this shared value system, and a mutual desire to make positive change in our extended communities, that The Futureverse Foundation was born.
Non-Fungible Labs got a head start on this mission by supporting Nana Oforiatta Ayim, the curator for Ghananian Pavilion at the 2022 Venice Biennale, through a 100,000 euro grant which made it possible for her to present the work of Na Chainkua Reindorf, Afroscope, and Diego Araúja—and this is just the beginning. We are so thrilled to embark on this journey of supporting the creation of a more equitable world through grants to artists and creative communities.
Warmly,
Alexandra
PS. If the world of NFTs and Web3 is new to you, as it was once new to me, I'd recommend reading Mathew Ball's excellent Primer for the Metaverse: www.matthewball.vc/all/forwardtothemetaverseprimer
4 notes · View notes
glitzempireofficial · 2 years
Text
Gabby’s Sister Makes History ...Wins $3m 'Dan David' History Prize
Gabby’s Sister Makes History …Wins $3m ‘Dan David’ History Prize
Ghanaian art historian, writer, and filmmaker, Nana Ofosuaa Oforiatta Ayim, has been awarded the world’s biggest history prize founded by Romanian philanthropist, Dan David, with an annual purse of $3 million for outstanding works. The Dan David history prize is given to outstanding early and mid-career scholars and practitioners in the historical disciplines. Previously, the award has been won…
Tumblr media
View On WordPress
0 notes
africaown · 2 years
Photo
Tumblr media
Nana Oforiatta Ayim: Ghanaian historian wins world’s biggest history prize
0 notes
ekute-ile · 3 years
Text
Tumblr media
Book 32, 2021: 'The God Child' by Nana Oforiatta Ayim.
Ghana. Germany. England. Maya and Kojo. African identity. Family.
Weltanschauung.
2 notes · View notes
universitybookstore · 4 years
Photo
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
New from Bloomsbury Circus, The God Child, by Nana Oforiatta Ayim. The Guardian calls it, “An ambitious Debut.” (Read the full review in the Guardian here.)
3 notes · View notes
allweknewisdead · 2 years
Text
Tumblr media
The God Child (2019) - Nana Oforiatta Ayim
Hic sunt leones. It did not mean that he would, like a lion, return home in all his power, but that he was the unknown in an unknown land, that he was lost, and that I was lost with him.
1 note · View note
bigtickhk · 4 years
Link
The God Child by Nana Oforiatta Ayim 
US: https://amzn.to/32W79rc 
UK: https://amzn.to/2wzJ1i0
0 notes
thedreamylass · 4 years
Link
0 notes
superselected · 7 years
Photo
Tumblr media
Ghanaian Art Historian to Create 54-Volume Encyclopedia on African Culture.
257 notes · View notes
burntsoft · 1 year
Text
"But the current crises that museums face comes precisely from the problem of the colonial mindset that placed Western civilisation and its taming modernities at the apex of humanity. A hierarchy of being that continues to see anything outside itself as alternative, inferior, merely indigenous or premodern, has resulted in the violations and inequalities among people and our environment that we face so starkly today.
In the West, museums are still grappling with how to redefine themselves in this moment, with how to honestly and accountably face their pasts, where even those who want to atone for violences of theft through reparation continue to speak on behalf of those that can speak for themselves. In other parts of the world, different conversations are being had.
On the African continent, museums as we know them were largely a colonial import, created to bolster newly independent national narratives with borrowed forms. As part of the exercise of control and exploitation, it was drummed into colonised peoples that their beings, their ways of seeing and expression, were primitive, backward, and of no value; all while these very things, with differing degrees of violence, were exported to the West to be re-valued for their museums and for their gain...
...[On the new Ghana National Museum] A structure that will allow for narratives and exchange with, and across, other parts of the world, on equal terms."
0 notes
keanuquotes · 2 years
Text
Thanks for the heads up @tardisesandtitans
What does art look like in an intangible digital space? Alexandra Grant, along with her partner, Keanu Reeves, is determined to help her fellow artists answer that question. The two are advisers for The Futureverse Foundation, a new charitable initiative designed to encourage artists to participate in the internet’s next frontier by creating work to be contemplated and sold in the metaverse, an integrated network of virtual, digital worlds that in its most ambitious conceptions may come to resemble The Matrix.
In particular, The Futureverse Foundation is betting that non-fungible tokens, or NFTs (unique digital objects secured by blockchain technology), can be more than speculative instruments — that they can have genuine artistic value. The Futureverse Foundation is committed to funding artists who will create powerful works to be transformed into these crypto assets, proving that fine art has a home in the next iteration of the internet, often called Web 3.0.
Related Stories
BUSINESS
THR's Philanthropist of the Year Reed Hastings on Why "It's Much Easier to Disrupt Entertainment Than Public Education"
MOVIE NEWS
'Bill and Ted'-Famous Circle K to Host Farewell Screenings of Film Before Closing Permanently
“I feel like the Futureverse Foundation is a proposal. If we do have this opportunity of building a new economy of [cultural] exchange, how do we?” asks Grant. “It’s new for all of us to be thinking about the partnerships between the art world, Hollywood and tech coming together in this really beautiful way.”
Created in collaboration with Non-Fungible Labs and Fluf World, a New Zealand-based NFT company, The Futureverse Foundation plans to “make the metaverse accessible to more people, especially from disadvantaged backgrounds,” Grant says. “This is the beginning, it’s a nascent moment for a technological shift where some people understand that they’re already in the metaverse, and some people don’t know what an NFT is.”
Grant, along with Reeves and Brooke Howard-Smith, co-founder of Non-Fungible Labs, plans to help move artists who work in traditional two- and three-dimensional mediums into the digital space by guiding them in the process of translating their art into NFTs, for sale in the metaverse.
“I am honored to be joining Non-Fungible Labs’ efforts in cooperation with Alexandra Grant for the extraordinary program and opportunity of the Futureverse Foundation, in support of artists and creators globally,” Reeves said in a statement.
Advised by peers and colleagues in the art world, The Futureverse Foundation will select artists to support based on the quality of the work, with special attention paid to Indigenous and women artists in an effort to diversify the art world, especially as it exists in the NFT space. The initial seed round of funding ($250,000) has been donated by Non-Fungible Labs, with much of its revenue generated by NFT sales. (Some of its best-sellers are digital spiders called “thingies.”) In anticipation of The Futureverse Foundation’s launch, Non-Fungible Labs made its first gift: a 100,000-euro donation to Nana Oforiatta Ayim, to support her work curating the Ghanaian Pavilion at the 2022 Venice Biennale.
“I sort of see these grants as social acupuncture; you’re not going to be able to change everything because that’s not the intention, the intention is to find the right energetic meridian to put a needle of change in,” Grant says. “So even though it was a real-world pavilion, that happened because of conversations that were all digital. That translation between worlds is already integrated.”
Many industries are working toward building a deeper relationship with the metaverse, but the challenge is to do so in a way that is equitable and doesn’t mirror the structural disadvantages that exist in the traditional art world. Before The Futureverse Foundation took shape, Howard-Smith helped establish an open pledge for large tech brands to sign and commit to advocating for an “open and inclusive metaverse.”
“This really is phase one of that,” he says of his collaborative foundation with Grant and Reeves. “Meta, Google, Amazon and everyone that’s signed [have] pledged that they were going to consciously drive to make sure that this version of technology is not the exclusive version that we built by accident over the last 30 years.”
Grant hopes the foundation can help democratize the buying, selling and valuing of art, both in the metaverse and in real life.
“A lot of people from a ‘fine arts background’ think of NFTs as being an image with an accounting ledger like a blockchain attached to it,” she says. “What’s actually happening is a rethinking of not just currency, but of what an object that can $ be shared is. Does it have physicality? Does it have value? Who gives it that? Inadvertently, the foundation is causing a reevaluation of Western art, of practices based in colonialism, of all these questions.”
A version of this story first appeared in the June 22 issue of The Hollywood Reporter magazine. Click here to subscribe.
2 notes · View notes
Link
Ten internationally leading figures in the arts and humanities have been appointed to the inaugural Advisory Council for Oxford University’s Humanities Cultural Programme
Professor Homi K. Bhabha, who is the Anne F. Rothenberg Professor of the Humanities at Harvard University.
Deborah Borda, president and CEO of the New York Philharmonic orchestra.
Professor Judith Buchanan, Master of St Peter’s College, Oxford and an expert on early modern literature and the study of film.
Sir Clive Gillinson CBE, Executive and Artistic Director of Carnegie Hall.
Michael Kaiser, an arts administrator who was president of the John F. Kennedy Center for Performing Arts in Washington, D.C. and led the Royal Opera House.
Neil Mendoza, Provost of Oriel College, Oxford and the UK government’s Commissioner for Cultural Recovery and Renewal.
Dr Nana Oforiatta-Ayim, a writer, art historian and filmmaker who wrote The God Child (2019).
Sir Simon Russell-Beale CBE, an actor, author and music historian.
Anoushka Shankar, a sitarist with six Grammy® Award nominations.
Amy Stursberg, Executive Director at the Stephen A. Schwarzman Foundation and CEO for Schwarzman Scholars Program
1 note · View note
africaown · 2 years
Text
Nana Oforiatta Ayim: Ghanaian historian wins world’s biggest history prize
Nana Oforiatta Ayim: Ghanaian historian wins world’s biggest history prize
Ghanaian art historian and filmmaker Nana Ofosuaa Oforiatta Ayim has hit another milestone on the global stage after winning the world’s biggest history prize. The award scheme was founded by Romanian philanthropist Dan David, with an annual purse of US$3 million for outstanding early and mid-career scholars and practitioners in the historical disciplines. Since its inception, the award has been…
Tumblr media
View On WordPress
0 notes
afrotumble · 3 years
Text
Tumblr media
Nana Oforiatta Ayim in front of the work of Ghanaian artist Serge Attukwei Clottey. Photo: Nii Odzenma.
1 note · View note
Text
13 notes · View notes