Karimah Ashadu (* 1985 London, Great Britain, lives and works in Hamburg) works primarily in the field of video and focuses on the topic of labor. These videos often present (male) protagonists in socio-economic contexts of Nigeria, for instance: workers in a wood workshop in Lagos, farmers extracting palm oil, or boxers in the slums of Nigeria. These are sites that are structurally male, developing both independently and parallel to the political conditions in the country.
As an exclusive edition for the Kunstverein in Hamburg, Karimah Ashadu has made two photographs available that show the everyday scenes of two men—titled Kano (Fruitseller) and Kano (Man with Cow), 2020. These photographs are memories of a past trip by the artist to Kano, one of the fourth largest cities in Nigeria. Nigeria began trading with North Africa and Europe in the 16th century and the ancient city of Kano was the gate to this trade. The city's lively trade has now faded. Instead, a rather mundane and dreary charm emerges in the work. The subsequent overpainting of the photographs with ink has given each work a unique character.
- Taipei Biennial 2020, “Shoreline movements”, Taiwan (G)
ars viva 2020, Kunstverein in Hamburg, Hamburg, DE (G)
- ars viva 2020, GfZK, Leipzig, DE (G)
- “Power Man”, De Ateliers (Amsterdam Art Weekend)(S)
64th Robert Flaherty Seminar, Syracuse, New York (G)
- Biennale de l’Image en Mouvement, Faena Art Center, Buenos Aires (G)
Biennale de l’Image en Mouvement, Faena Forum and Bazaar, Miami Beach (G)