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David Adjaye has given his practice a new kind of home base, a purpose-built studio in Accra that he describes as a spatial manifesto for the continent. The building will anchor Adjaye Associates’ African work going forward, housing design teams, model-making and research under one roof in the city that has quietly shaped so many of his projects.
For decades, the work has travelled the world, through museums in Washington, memorials in Johannesburg and pavilions in Venice, while the centre of gravity stayed elsewhere. Planting a permanent studio in Accra doesn’t just tidy up the logistics; it formalizes the idea that African futures deserve their own architectural headquarters


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@kobby_national @pazunre i think at this point we don’t necessarily have to go too core with the local languages since what we socially do speak and interact in aren’t so deep.
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Measuring thirty-nine feet in length, El Anatsui’s Fading Scroll stands as a landmark co-acquisition by LACMA and the Fowler Museum at UCLA.
Constructed from thousands of flattened liquor bottle tops and copper wire, the sculpture replicates the fluidity of Kente while tracing the legacy of colonial commerce through a form that adapts to the specific contours of every gallery it enters

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In New York, Gideon Appah’s paintings at Pace Gallery drift between dream and documentary, folding Ghana’s postcolonial history into nighttime cinemas, billboards and half-remembered streets. The show, often described as merging fantasy with the residues of Ghana’s 1960s and 70s visual culture, treats memory itself as an environment, lit in blues, pinks and deep shadows that feel like the afterimage of a film reel

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"The new ChatGPT images 2.0 is insane"
Here are some posters I created without AI




John "Sentive" Osborn@SentiveJ
"The new ChatGPT images 2.0 is insane" Here are some posters I created without AI
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