Skip to main content


On Identity: African Artists and the Diaspora Full Interview with C& for the  Print Issue #9: Round Table
on 'Identity'

C& - In your work you examine extensively the condition of the image today. By doing so you also engage with your local environment in Accra. How important is that local/national perspective to you and your work? 
Kelvin Haizel: The image in our contemporaneity has become a very complex and coded entity that does not only exist to index things, but has brought about a series of real objects in the material world. Indeed, images, in many ways have become objects in and of themselves. Consequently, the image has become ‘matter’ that is not to be perceived only with visual apparatuses and faculties, but a wide range of sensibilities are needed with which to engage the image. Even new vocabularies have to be developed to articulate what it is that we refer to as ‘image’ in this time. If, per Hito Steyerl, the image has literally crawled of screens, canvases, …
Recent posts

"things and nothings" at Afrotopia, 11th edition Rencontres de Bamako Biennale Africaine de la Photographie.

Kelvin Haizel

things and nothings, 2017
In things and notings, Kelvin Haizel explores the question of the image as object. His installation consists of  recycled car and motorbike parts (doors, headlamps,indicator lights ...), a video displayed on an upward-facing screen, and a video projection. The doors and headlamps are covered in adhesive sheet printed with images of car accidents. The various lamps are illuminated, wired together like a garland traversing the exhibition space, while the blink and tick fill the space in which the two videos are shown without sound. The first presents a grid of multiple images of gloved hands moving now quickly, now slowly, over a board game. The second is a film in slow motion. The installation as a whole plays on the oscillation between object and image, seeking, in underlining the objective nature of the image, to undermine its authority: slowed -down, the film is decomposed into independent images, while backlit images are headlamps...Photogra…
Lagos Biennial: Introducing yet Another platform for Visibility…

Kelvin Haizel "Yaw Crossing Liar". Lagos. 2017. Image courtesy Kelvin Haizel. 

The maiden Lagos Biennial with the theme: “Living on the Edge” is one more biennial on the African continent. And another in the world of biennials. Lagos Biennial provides artists another opportunity to exhibit, and consequently stay visible or become visible, if they are emergent. This is what brought 41 artists from all over the world (Cuba, Ghana, Germany, South Korea and more), to show their work in Lagos, Nigeria from 12th October to 22nd November 2017.
In this world-wide game of visibility, an artist who does not exhibit does not exist and therefore risks invisibility. It is therefore a welcome gesture to have Folakunle Oshun and his dedicated team, initiate this audacious project. Even more importantly, as an artist-initiated and run biennial, the Lagos Biennial joins the likes of artist-run biennials such as the London Biennia…
How Sweet are You!

"Don't Worry, I'll wait!" Part of a group show: Bizindalo! Art & Technology in Africa September 2 - October 10, 2017 at  Museu de Electricidade | Casa da Luz

'things and nothings' 
Art Exhibition  by Kelvin Haizel
9. 5.17 - 27. 5. 17
Old KNUST Museum

“Things and Nothings” is a result of investigations into the image (still and moving). A thing is considered a thing because it has yet to enter any form of categorization outside of being a thing; it has yet to be classified. However, nothing is already classified among the sub (-stitute) (-altern) (-standard) it may be considered as inferior, derogatory and or lowly within a certain hierarchy of objects. In another breath the image as nothing may be thought of as not-special, banal or even mundane. In the world saturated with all sorts of images, we could experience them in their material form as objects that are things or nothings. How do the transitions from images to objects occur?  What is the object of an image? How can we tell things from nothings? Using a body of work produced over the past two years, I present the image (in both still and moving form) and the objects they become. 

Who puts a bent glass door on the museum floor as art?

"Untitled"1 (one among many obects). Installation view. Museum of Science and Technology. 2016.  Photo credit: Bernard Akoi-Jackson
Who puts a bent glass door on the museum floor as art? This question has a sarcastic curiosity to it; and one might be equally ridiculous and say 'Kelvin Haizel'. But inherent in that question is also the search for meaning; what is this? While going through a number of images from the exhibition,i could project this question unto one of the blue boys who visited the museum of science and technology, during the Cornfields in Accra art exhibition. He sat on his heels next to the [un]familiar object and keenly observed. I wonder, What might he have thought? The label next to it doesn't point to anything outside of the object either: It reads "Untitled"1 (one among many objects). 'Where is/are the clue(s) to unpack this? Could it be in the phenomenological experience? Or …