Born of Kabuye Benedict family, Balimunsi Philip is an independent curator and artist based at an independent art studio, Philbal art studio. He is pursuing an interest in Ugandan art history in relation to contemporary practice. Occupying unimaginable spaces and spheres, his curatorial focus steers towards documentation and shaping the arena of experience to grant viewers a glimpse into an exhibition of memories and a creative mist of conversations. His practice explores the intellectual explosion of artistic quandary in relation to creativity as a social response to human interaction with extremely difficult spheres of life.
Balimunsi is an Independent Curators International (ICI) alumnus of 2014 Addis Curatorial Intensive, was admitted for Zeitz MOCAA curatorial training programme, Cape Town South Africa (2016) , invited as an East African curatorial regional nominator for KfW Stiftung in partnership with the cultural centre Künstlerhaus Bethanien international artist-in-residence programme in Berlin- German (2017), a national award winning artist and art judge of Youth Alive Uganda (2012), a member of 32° East | Ugandan Arts Trust and Bayimba foundation.
He is a co-curator of the “Know Go Zone” (2013), “Dance in the City” (2013), “KLAART014” (2014) and a curator of the “DADs” exhibition (2016), “Effects of climate change” (2017), “Know way out” (2017), “JAMAFEST” regional visual arts and cultural pavilion (2017). He has featured as a panellist at; “ICI curatorial Intensive panel”, “Points of Orientation”, “Curation of public spaces”, “Struggles and dreams of fellow youths”. Balimunisi has published reviews, articles and interviews with Start journal, contemporary And, JAMAFEST magazine, and he is currently publishing interviews to re-invent the 1962 CCF (Congress for Cultural Freedom) negritude conference hosted by Makerere University.
“Are you sure whether you’re a victim or not! But you have been hurt emotionally before”
Being a strong willed pragmatic curatorial enthusiast with incessant passion and interest to reshape a visually painful experience with rhetorical nuances of hope and curiosity, this exhibition seeks to experiment and explore artistic quandary in addressing curatorial concerns of child sacrifice and human trafficking within context, and interactions with victims, processes and images of previous and current cases will afterwards sprinkle everyone with rhetorical pains, struggles, fears, anxiety and passion to finally mature in a philosophy that feeds artistic conscience. Hope everyone explores this exhibition processes with radical flexibility to gain an experience of reality with shared memories of pain and dilemma in a midst of disparate theories of what defines us as humans. This exhibition is a shared proposal of the curator, artists, KCM stakeholders, sponsors and publics; it’s an invitation for continuous dialogue around the inhuman vice of pre-mature massacre of dreams.