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Nestled within the entrance to Front/Back and as a joint venture with Lokko, The Container is a social enterprise that works with emerging and established artists across all media. Everything you find is exclusive to us and most are specially commissioned, from editioned items to unique pieces.
The Container guarantees quality control and authenticity. We also nurture our artists, providing them with any advice they may need and working alongside them with production. Purchasing from us is not only a fun investment in art but a direct way of supporting the creative industry on our continent. Thank you.
Joseph Abbey Mensah
Joseph Nii Abbey Abbey-Mensah is an emerging Ghanaian contemporary visual artist. His works have been featured by bloggers and websites globally including VSCO and Bella Naija.
Joseph was born and grew up in Accra. As an artist, many of his works are inspired by his upbringing and Ghanaian heritage. This influence manifests itself in Ghanaian motifs that satisfy the task of aesthetics. His goal is to give his followers the aesthetic pleasure needed to engender artistic conversations.
Hakeem Adam is a Ghanaian artist and freelance arts and culture writer exploring the power of narrative, transmitted through various creative outlets including poetry, creative writing, photography, video art and sound design. He is also the founder and creative director of DANDANO, a Pan-African cultural platform for African film and music criticism and documentation. His work is fixated on broadcasting ideas that help our collective investigation of themes such as identity, emotion, politics and freedom.
Hakeem completed a degree in Psychology and English from the University of Ghana in 2017 but is a self-taught multidisciplinary artist. He has worked with publications like OkayAfrica, 10and5, Dynamic Africa, Roads and Kingdoms, Culture Trip, ACCRA[dot]ALT and Circumspecte as a freelance writer. Hakeem’s current practice involves developing a methodology for employing sound as the predominant narrative device in video art.
The digital arts scene in Ghana has seen phenomenal growth over the last couple of years. One of the major names that has helped shape it is Hanson Akatti, whose work has changed the face of digital art and animation in the country. In an industry that hyper-sexualises women, Akatti included, this series of work is intended to objectify men in a manner which is not common in Ghanaian society.
Born in Accra, Ghana, Akatti’s works are whimsical yet pseudo-realistic, influenced by comics, film, music and urban culture. His craft has been transforming album covers in Ghana, having worked with DJ Juls’, Fokn Bois, EL and Efya, his work is now a determining factor for the effort ascribed to album artwork in Africa. His work has graced the covers and pages of magazines such as Canoe, Dust and A.20.
Godfried Donkor was born in Ghana in 1964, grew up in Europe and settled in London to begin his art practice. Godfried uses a range of different techniques. In addition to painting, drawing and photography.
As someone who straddles borders between continents and cultures, Donkor is interested in historical, sociological and societal topics; in particular, the shared history of the peoples of Africa and Europe. In view of this, he reflects on the trading of people in all its facets. For Donkor, it is important to illustrate the high value of sport and sexuality and thus the marketing of their protagonists in a global world.
Since the 1990s, Donkor has exhibited widely throughout the world especially in Africa, Europe and the United States. Selected group and solo exhibition include: Gallery 1957, Accra, Ghana (2017); Afriques Capitales, La Villiette, Paris (2017); EVA International – Ireland’s Biennial (2016); Conversations: African and African American Artworks in Dialogue, Smithsonian National Museum of African Art, Washington D.C. (2014-16); Speaking of People: Ebony, Jet and Contemporary Art, Studio Museum, Harlem (2014 -15); How far how near, Stedelijk Museum, Amsterdam (2014 -15); Hollandaise, Raw Material Company, Dakar (2013); Black Germany, Haus de Kunst, Munich (2012); Trade and Empire: Remembering Slavery, Whitworth Art Gallery, Manchester (2007-08); Abolition 07, Hackney Museum, London (2007); Around the World in 80 days, ICA, London (2006); Concerto in Light and Darkness no 1, National Museum, Ghana (2005); Pin Up, Tate Modern, London (2004); Financial Times, Ecole Regionale des beaux Artes, Nantes (2004); Ghana Representation, Venice Biennale, Venice (2001); Whose Africa, Horniman Museum, London (2000); 7th Havana Biennale, Havana (2000); Wrestling and Mysticism, Dak’Art 2000, Dakar (2000); and Slave to Champ, EMACA Visual Arts, Nottingham (1999).
Museum collections which hold works by the artist include The Stedelijk Museum, Amsterdam; Studio Museum in Harlem, New York; Whitworth Art Gallery, Manchester; Smithsonian National Museum of African Art, Washington D.C.; National Collection of Senegal; World Bank collection, Washington D.C.; Art Omi, Ghent, New York; Unilever collection; University of Helsinki; and National Gallery of Botswana.
Donkor has taught and lectured widely as universities globally including: University of the Arts London; Kwame Nkrumah University of Science and Technology (KNUST), Kumasi; University of Lancaster; Nottingham Trent University; Otis College of Art and Design, California; Art Center College of Design, California; U.C.L.A, California and Mills Collage, Oakland.
Born in Larache, Morocco in 1961, Hassan arrived in London in his teens and grew up amid the emerging club culture in the UK.
Known as the “Andy Warhol of Marrakech” Hassan is very much a child of the pop art generation. His work encompasses many techniques and fields, from designing and producing furniture including lamps, stools and poufs made from recycled North African objects to custom made clothes and photography.
2015 saw Hassan’s first foray into film with Karima: A Day in The Life of A Henna Girl—a melange of documentary and B movie set within Marrakech’s Jemaa el-Fnaa square, which the artist refers to as “the University of Street Life.” Premiered at the LACMA and later on screened at Art Basel and the British Museum, Karima remains true to Hassan’s pop aesthetic and sets the protagonists of his vibrant photographs in motion.
Hajjaj’s selected solo shows include: Hassan Hajjaj: The Path, New Art Exchange, Nottingham, UK (2019);La Salle de Gym des Femmes Arabes, Al Riwaq Art Space, Adliya, Bahrain (2017); La Caravane, Somerset House, London, UK (2017); La Salle de Gym des Femmes Arabes, The Third Line, Dubai, UAE (2016); Hassan Hajjaj, My Rock Stars Experimental, Vol.1, Wexner Center for the Arts, Columbus, USA (2015); Kesh Angels, Taymour Grahne Gallery, New York, USA (2014); My Rock Stars: Volume 2, Gusford Gallery, Los Angeles, CA, USA (2014); My Rock Stars: Volume 1, Los Angeles County Museum of Art, CA, USA (2014, travelled from The Third Line, Dubai, and Virginia Commonwealth University, USA); Kesh Angels, Rose Issa Projects, London (2010); Fashion in Motion, Victoria & Albert Museum, London (2005).
Hajjaj’s work has been exhibited internationally in many high profile exhibitions including the African Metropolis: An Imaginary City, Maxxi National Museum, Rome, Italy (2018); National Gallery of Victoria Triennial, Melbourne, Australia (2017); Summer Exhibition, Royal Academy of Arts, London, UK (2017); Treasures of Islam in Africa. From Timbuktu to Zanzibar, Institut du Monde Arabe, Paris, France (2017); Fashion Cities Africa, Brighton Museum, UK (2016); Islamic Art Now: Contemporary Art of the Middle East, LACMA, Los Angeles, USA (2015); True to Life?-New Photography from the Middle East, Birmingham of Art Gallery, Birmingham, UK (2014); Light from the Middle East, Victoria & Albert Museum, London (2013); We are not Witches, Saatchi Gallery, London (2010); Africa Remix, Hayward Gallery, London (2005) and Contemporary African Visual Arts, British Museum, London (2005).
Hassan Hajjaj’s works have been acquired by the Guggenheim, Abu Dhabi, UAE, MAXXI National Museum, Rome, the Museum of African Contemporary Art Al Maaden (MACAAL), Marrakesh, Morocco, the Los Angeles County Museum of Art; the Brooklyn Museum, New York; the Victoria and Albert Museum, London; and the British Museum, London.
The artist lives and works between London, England and Marrakech, Morocco.
Latifah Iddriss works between the interface of architecture and art. To her, architecture is sculpture that evolves into habitable forms that seek to meet the needs of the environment and the culture it represents. The aim of the designs she creates goes beyond an effort to meet utility; they are a way to envision form that is sensitive to the essence of what they represent. Through design, she hopes to solve the problems that manifest around her.
Latifah graduated from the architecture school at KNUST, Kumasi, Ghana. She has worked with Mobius Architecture, Archiafrika, and the Ashesi Design School Programmme, and exhibited with ANO, at 1-54, and has been featured by Christie’s Auction House.