exhibition, which is now showing at the Guggenheim Museum in Bilbao, Spain.
Originally curated by Amelie Klein for the Vitra Design Museum in Basel, Switzerland, it is arguably the first major museum survey show of contemporary design in Africa, and neatly avoids stereotypes of humanitarian design and cultural craft by positioning itself within the “Africa is rising” narrative.
However, as the art world learnt with seminal exhibitions such as Africa Remix by Simon Njami in 2005 and The Short Century by Okwui Enwezor in 2001, survey exhibitions are inherently flawed because Africa is not a country, and any showing of Africa in Europe will evoke the spectacle of the other, raising the question of who this exhibition is really serving, and to what end.
Nigerian-born Enwezor also played an advising role in Making Africa, which originally opened just before his centrepiece Venice Biennale show last year. There is a feeling that his name gives the exhibition some sort of stamp of approval, particularly since his curatorial fingerprint is not discernible. However, in his catalogue interview, his call for a new design vocabulary that interrogates the power relations of Western-imposed