Inventive forms of collaborative and critical practice are often born in cities where the infrastructure of cultural funding and subsidies is limited. In parallel to supporting artists and curators themselves, independent art initiatives often serve fundamental roles in their wider communities, too. Artists and curators are rooted in local contexts, and can have a pragmatic understanding of the needs of their neighbors that extend beyond artistic collaboration.

Interdependence is a collaboration between e-flux Architecture and OtherNetwork supported by ifa – Institut für Auslandsbeziehungen.

2022 Research Team Samantha Modisenyane, Abraham Tettey, Lucille de Witte
2025 Research Team Matheus dos Reis, Camila Alegría, Camilo Quiroga

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16 essays
Abidin Kusno and Gudskul
Spatially, Jakarta is a city that has gone far beyond Sukarno’s expectations in the 1950s, when he demanded a three-dimensional modernist city.
We started to ask ourselves: What if an art institution wasn’t stuck to a fixed grid (exhibitions, seasons, workshops, etc.)?
In Vietnam, Heritage Art Space is not the oldest independent art space. Nevertheless, the evolving forms of its activities amid changing material conditions is revelatory of the complexities of art-making and audience-building to foster a resilient domestic art ecosystem in the fast-developing and liberalizing Vietnam.
The Insurgentes subway station is one of the main arteries in the beating heart of Mexico City.
Electrified voices emerge from inside the house, as if an interview was being recorded. This is the headquarters of the community television channel Señal 3 of the La Victoria settlement, which broadcasts a daily program dedicated to the vicissitudes of the community.
OtherNetwork and e-flux Architecture
Interdependence, a collaboration between e-flux Architecture and OtherNetwork, returns, featuring contributions by Gabriela Jauregui on Aeromoto, Juan José Santos on Galería Metropolitana, Benjamin Seroussi on Casa do Povo, Dan Tran on Heritage Space, and an independent contribution by Gudskul.
Christian Nyampeta and Feza Kayungu Ramazani
When describing the time leading up to the beginnings of Centre d’art Waza, an art center in Lubumbashi that he co-founded in 2010 and has led ever since, Patrick Mudekereza speaks in a voice full of gratitude and contagious with joy.
Christ Mukenge, Lydia Schellhammer, and Sorana Munsya
From my point of view, your way of producing art in Kinshasa and circulating it creates surreal situations by breaking down the boundaries that separate social, geographical, and conceptual realities that coexist in the same space of the city. Could you tell us how your duo came about?
It is September 4, 2022, the day our comrade and friend, Isaac Nana Osei Kwadwo (aka Ashanti immigrant) would be finally laid to rest in his hometown in Offinso, Ashanti Region, Ghana.
Terra Alta Community
To some people, it’s a barely noticeable gate in the slip road by a busy highway, concealed by a splatter of potted plants and tall trees. To others, it’s a curiosity, an enigma, either a place of derision or wonder. It’s good, bad, confusing, needed, comforting, unsettling, too broad, and too specific by turns.
Depending on the direction you are coming from, you may need to walk or drive through a street with a confusion of names to get to the Vernacular Art-...
Bhavisha Panchia, Carly Whitaker, and Chad Cordeiro
The ecology of the artworld in South Africa today relies on support from public and private institutions. Yet there is a deficiency of state and municipal funding for maintaining public art institutions as well as supporting exhibition programming, acquisitions, and publishing.
The Center for Contemporary Art, Lagos (CCA) was founded as a not-for-profit art space, gallery, library and educational center in 2007, a year before my first visit. Its intention was to allow new voices to emerge along with new forms of artistic thought and expression. A space for Lagosians to find, interact, learn, and share from the wealth of creative knowledge and practice that has existed and exists in the city as well as from places far and wide.
Eléonore Hellio
Originally from this vast region, Bebson Elemba aka Bebson de la Rue is in the process of turning his Ngbwaka home into an autonomous space for collective participatory creation. Step by step, an informal avant-garde will begin to take shape around his artistic practice.
Keleketla! Library and Sumayya Vally
The history of the Drill Hall, of the 1956 Treason Trial, became fertile ground to expand our programming with the After School Programme. Some of the publications that we printed about the heritage of the Drill Hall and the history of South Africa were meant to become integrated in local school curricula, which doesn’t speak much about the 1956 Treason Trial.
Colin Keays, Federico Martelli, and e-flux Architecture
Inventive forms of collaborative and critical practice are often born in cities where the infrastructure of cultural funding and subsidies is limited. In parallel to supporting artists and curators themselves, independent art initiatives often serve fundamental roles in their wider communities, too.
Category
Museums, Education
Subject
Architecture, Museology, Africa, Collaboration, Networks, Postcolonialism

Interdependence is a collaboration between e-flux Architecture and OtherNetwork supported by ifa – Institut für Auslandsbeziehungen.

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