Women’s History Month Screening at NeueHouse


NeueHouse_AfricanFilmFestival Women's History Month Celebration

Thursday, March 17th 6:45 PM-9:15PM

Join NeueHouse and African Film Festival, Inc. for a celebration of Women’s History Month with directors Ekwa Msangi (Soko Sonko) and Alla Kovgan (Nora), and  dancer-choreographer nora chipaumire. 

In the quest to give an authentic voice to women in their personal search for identity, Msangi, Kovgan and chipaumire have crafted works which pay homage to female individuality and the collective family structure, whilst challenging the old belief systems of a woman’s role. 

A screening of Msangi’s Soko Sonko — a comedic tale about the father-daughter bond and gender-role reversals– and Nora, an elegant dance biopic based on chipaumire’s childhood in Zimbabwe, will be followed by a discussion with the artists. 

This is a free, private screening. RSVP is required. RSVPs must be sent to RSVPNY@NeueHouse.com. 

Celebrate Black History Month– AFRIPEDIA Screening at The Schomburg


Afripedia_Creatives_ promo_APlogo_Copyright StocktownFilms

Afripedia Screening & Discussion

Thursday, February 18th, 2016, 6:30pm – 8:30pm

Schomburg Center for Research in Black Culture
515 Malcolm X Boulevard
New York, NY 10037

Join us at The Schomburg Center for Research in Black Culture as we celebrate Black History Month with a screening of the Ghana and Senegal episodes from the Afripedia series. Directors Teddy Goitom and Senay Berhe will be present for a post-screening talkback.

Afripedia— a documentary series by Teddy Goitom, Benjamin Taft, and Senay Berhe — is dedicated to showcasing artists, musicians, filmmakers, and other creatives from Africa and its Diaspora. Spend an evening with AFF and the Schomburg Center as we co-present a screening of this engrossing visual guide to the cultural movements taking place in African metropolises and the young artists on the continent who are making Black History now!

This event is FREE and open to the public, but registration is required. Please click here to reserve your seats now. All attendees are advised to arrive early as registered seats will be released 15-30 minutes before the start of the program. Click here for more details on the Schomburg Center’s registration/admission policy.


Directors: Teddy Goitom, Benjamin Taft and Senay Berhe
Countries: Angola, Ghana, Kenya, Senegal, South Africa, Sweden
Year: 2014
Running Time: 140 min.
Language: English, Portuguese, French and Wolof with English subtitles



Angola welcomes us to the home of heavy electro music known as kuduro. Follow us across the pulsating city of Luanda, as we delve into the kuduro revolution and meet the people charting its course.



The whispers among those in the know are saying that Accra is the next big hotspot for African cultural production, and Afripedia, Ghana suggests they’re not wrong.



Through the stories of its key talents, Afripedia, Kenya takes an intimate look at Nairobi’s urban culture scene and its leading personalities and stars.


Senegal _ Omar Victor Diop Copyright_StocktownFilms

In Afripedia, Senegal, we meet fashion designer Selly Raby Kane. Photographer Omar Victor Diop playfully reimagines Hollywood’s most iconic images with a Senegalese twist, while dancer Khoudia Roodia is organizing and building for a future where Africa dominates street dance. Beatmaker Fanny from the Ivory Coast is defying society’s boundaries to create a future for female artists and organizers.

South Africa


Twenty years after liberation, Afripedia, South Africa portrays a diverse new generation in which fashion designers, animators, cultural entrepreneurs, music producers and guerilla filmmakers redefine what it means to be young, talented and passionate in South Africa today.

Pirating Pirates

Director: David Čálek
Countries: Kenya/Somalia/Czech Republic
Year: 2014
Running Time: 85 min.
Languages: Czech, English and Somali with English subtitles


Intending to make a film about the piracy in Somalia, the filmmakers of Pirating Pirates had no idea that they’d have to lay their original plans aside. The film takes a surprising turn as they become entangled in a web of lies and deception.

Stories of Our Lives

Director: Jim Chuchu
Countries: Kenya/South Africa
Year: 2014
Running Time: 62 min.
Languages: English and Swahili with English subtitles


Created by the members of The NEST Collective, a Nairobi-based arts collaborative, this anthology of five short films dramatizes true stories of LGBT life in Kenya.

Jim Chuchu

Biography: Jim Chuchu is a visual artist, filmmaker and musician from Nairobi, Kenya. He is also co-founder and Creative Director at the NEST – a multidisciplinary art space in Nairobi, and a member of the NEST Collective. He first came to attention as a member of Kenyan music group Just A Band and subsequently as director of Kenyan LGBT film Stories of Our Lives which was banned in Kenya. In October 2013, Just A Band announced that Chuchu had left the band to pursue his solo projects. Following his exit, Chuchu then directed his first short film Homecoming as part of the African Metropolis project, which premiered at the 2013 Durban International Film Festival, then went on to screen at the 2013 Toronto International Film Festival, and the International Film Festival Rotterdam, Santa Barbara International Film Festival, the Film Festival Locarno and the Seattle International Film Festival in 2014. In April 2014, Chuchu’s photography series titled Pagans was featured in the 2014 edition of Dak’Art, the 11th Biennale of Contemporary African Art, as part of the Precarious Imaging: Visibility and Media Surrounding African Queerness exhibition in Dakar, Senegal. The show was cancelled a day after its opening by Senegalese authorities, who ruled that ruled that future exhibitions addressing the issue of homosexuality must be closed or canceled.


Films Shown in AFF, Inc. Programs:
Stories of Our Lives (2015)

Homecoming (2013);
Dinka Translation (2013);
Urban Hunter (2013);
Stories of Our Lives (2014).

This Wednesday AFF Screens BRONX PRINCESS in Nairobi, Kenya!

This Wednesday, June 24 AFF partners with DOCUBOX to present BRONX PRINCESS in Nairobi, Kenya.

Film lovers in Nairobi are invited to come see this free screening of the spirited coming-of-age story of Rocky Otoo.  A teen raised in the Bronx, New York, Rocky’s ideas of life and independence often conflict with the more traditional viewpoints of her Ghanaian mother. During the summer between her high school graduation and the start of college, Rocky journeys to Africa to reunite with her father, a chief in Ghana. While there Rocky must reconcile her African heritage with her ideas of independence.  BRONX PRINCESS will be screened with A GOAT FOR A VOTE, an intriguing look at three students competing to be the next school president.

The event is free and open to the public. Movie fans can reserve their free tickets by clicking here!

Bronx Princess, Yoni Brook & Musa Syeed, Ghana/USA, 2008, 38min

Wanjiru Kairu

Biography: Wanjiru Kairu is a filmmaker based in Kenya whose main goal is to create films that are compelling, original and successful in promoting dialogue on social issues. She has successfully produced, directed and written for television and has a number of hit shows and award winning programs. Some of her work includes Weakness and her first feature project, The Transcendence, an African superhero narrative.

(Source: http://africanwomenincinema.blogspot.com/2010/08/wanjiru-kairu-talks-with-actnow.html)

Films Shown in AFF, Inc. Programs:
Weakness (2010).

Must be a God Fearing Chirsitan Girl (2007);
Weakness (2009);
New Year’s Eve (2013).

Taking Root: The Vision of Wangari Maathai

Directors: Alan Dater and Lisa Merton
Country: Kenya and USA
Year: 2008
Running Time: 80 min.
Language: English


Taking Root tells the dramatic story of Kenyan Nobel Peace Prize Laureate Wangari Maathai whose simple act of planting trees grew into a nationwide movement to safeguard the environment, protect human rights, and defend democracy—a movement for which this charismatic woman became an iconic inspiration.

Taking Root is the most comprehensive, in-depth film about Wangari Maathai available. It was made in close collaboration with her during the last decade of her life.

The Education of Auma Obama

Director: Branwen Okpako
Country: Germany
Year: 2011
Running Time: 79 min.
Language: English, German, Luo, and Swahili


The Education of Auma Obama is a captivating and intimate portrait of U.S. president Barack Obama’s older half-sister, who embodies a post-colonial, feminist identity in her native Kenya. Nigerian-born director Branwen Okpako’s film also documents a generation of politically and socially engaged Africans whose aspirations are informed by their parents’ experiences, and whose ambition to forge a better future for their communities starts from the ground up.

In My Genes

In My Genes, Lupita Nyong'o, Kenya, 2009, 78 min.

Director: Lupita Nyong’o
Country: Kenya
Year: 2009
Running Time: 78 min.
Language: English and Swahili

In My Genes, Lupita Nyong'o, Kenya, 2009, 78 min.

What is it like to be white in a black society? Agnes, a woman with albinism, overcomes the difficulties of being born with no pigment in a society that discriminates against the condition. In My Genes asks us to consider how it feels to be a member of one of the most hyper-visible and yet effectively invisible groups of people in a predominantly black society.

Available for purchase in our store!

The Market King / Soko Sonko

Director: Ekwa Msangi
Countries: Kenya and USA
Year: 2014
Running Time: 22 min.
Language: KiSwahili and Sheng


When her mom gets sick, Kibibi’s dad must take her to the market to get her hair braided before school begins. Soko Sonko is a hilarious, fish-out-of-water roller coaster of a journey, about a well-intended dad who goes where no man has gone before… because only women have been there!

Something Necessary

Director: Judy Kibinge
Countries: Germany and Kenya
Year: 2013
Running Time: 82 min.
Language: Swahili

Anne is struggling to rebuild her life after the civil unrest that swept Kenya after the 2008 elections claiming the life of her husband, the health of her son and leaving her farm in ruins. Joseph, a troubled young gang member who participated in the countrywide violence is drawn to Anne seemingly in search of redemption. Both he and Anne need to shed the painful memories of their past and move on – but will they be able to?

It’s Us / Ni Sisi

Director: Nick Reding
Countries: Kenya
Year: 2013
Running Time: 92 min.
Language: Swahili

Ni Sisi portrays a typical Kenyan community: a harmonious muddle of tribes, intermarriages, and extended families who have lived and worked together all their lives. Then one day rumors begin to spread and suddenly mistrust takes hold. People are identified as belonging to a different tribe rather than by their identity as a person. With mistrust comes a sense of threat and fear, and old friends now turn on each other. In a matter of days, the bonds and alliances are severed just as it did in reality in 2008. They find themselves plunging into chaos, and it seems unstoppable and brutal. Is it possible to learn from old mistakes and has a once peaceful community another chance?

A Bold Transmission: Ekwa Msangi Interviews Lupita Nyong’o, Judy Kibinge and Wanuri Kahiu

…Ekwa: I have three female Kenyan filmmakers sitting here, and as far as I’ve heard living outside of the country, all of the headliners have had female names. So are there just no male filmmakers in Kenya?

Judy: There are a fair number of guys, I must say, but lots of women—maybe two-thirds women and one-third men.

Lupita: If you look at our storytelling culture, women told the stories. It was your grandmother that you listened to telling stories as you sat around by the fire, so perhaps women have been pioneers in the field, more ahead of the game, because storytelling is considered a woman’s role.

Wanuri: My mother told me the most ridiculous tales, and I think up until I was, like, fourteen or fifteen, I wasn’t sure if she was telling the truth or not. [Everyone laughs.] Honest to God! Many things she used to tell me: “You know, Wanuri, your breasts will never grow until leeches . . .” [Laughter.] Honest to God, I just didn’t know! And her being a doctor, I expected her to tell the truth to a certain extent. But also just hearing women talk about people—I think that the way we women relate has influenced my love for people and the story.

Lupita: Yeah, and because of that, women’s early success feeds on itself. If you look at Kenya as the paternalistic society that it has become—but still there were women making films from the beginning—chances are high that more women will get into filmmaking as time goes on, right? Sooner than they’ll become matatu [public minivan] drivers!

Judy: You’re right. What I find interesting is you can’t separate the art of storytelling from literature, yet the writers of the sixties and the seventies were men. Why have we women come into storytelling as filmmakers?

My own family is very interesting, in fact. My mom’s side has lots of writers and artists. I had an uncle who wrote lots of books—he was a lecturer at the University in literature—and I have other uncles who’ve written lots of books. It’s the men who were telling the stories through literature.

Ekwa: What audiences are you thinking of when you’re making films? Are you targeting particular audiences?

Wanuri: This is what I learned in film school, and I think it’s a really handy lesson: I have to think about an audience, but I have to trust my instincts as well. Somebody told me, “You might think you are the most unique person in the world, you might think that nobody else thinks like you, has ideas like you . . . but you’re not that special. If you laugh for some reason, if you cry for any reason, be guaranteed there are a hundred thousand people who will cry for the same reason you’re crying or laugh for the same reason you’re laughing. So when you’re writing, try not to think about your audience. Think about what you want, and what is a genuine emotion for you. Because if you put the genuineness of the emotion into the film, then audiences will respond to that pure emotion, will respond to what you’re saying as a result.” And that’s because—honest to God—we’re not that special. We’re not that random, we’re not that isolated, that you will have a feeling or an idea that somebody will not be able to relate to.

Lupita: When I was a young filmmaker making In My Genes, I was making it for a Kenyan audience, but I really did not focus on that. I was committed first and foremost to the main character. When I met her, I knew my film had to be about her. I also knew the film had to demystify albinism. I talked to people who thought my idea was interesting, but asked, “How are you going to do that?” I didn’t know. I didn’t have a script; I just had this idea. So I’d say, “Well, I’m thinking that the main character—who’s blind and weaves these kiondos [handwoven baskets]—will be deconstructing her life while she’s constructing a basket.” People just didn’t get it—even I wasn’t sure what I wanted. But I had a gut feeling that this is the way it needed to be. So I did not focus on the audience—I just made the film based on what I needed to say, and what I needed to say came from my own ignorance of the topic. I knew very little about albinism when I started the film, and learned so much in the process of making the film, and I wanted my audience to go on that same journey. So, really, I was referring to myself as I made the film. Considering myself as a viewer, what would I like to see?

It really limits me to think consciously about what audience a film is going to reach, because I cannot put myself in some sort of ambiguous group of people. It’s very hard, it’s a very abstract thing to do, and it takes you away from the things you need to say.

Wanuri: And even this film that I’ve just made, Pumzi, I have no idea how people are going to respond to it, because it’s so different. It’s sci-fi. African sci-fi. What is that?

Lupita: You’ve just created a genre!

Ekwa: We’ve all watched sci-fi movies, we’ve all watched documentaries, but I don’t know how many people have seen those kinds of films about us. Do you think that audience development will just come as the industry grows, and as we grow as a nation and a people? Will people be educated to understand that it’s okay to see us in sci-fi, to think of ourselves in these new ways?

Judy: When I made my first film, Dangerous Affair, in 2001, all Kenyan films were about the girl child, coming to the city, clean water, HIV, female genital mutilation . . . because that’s where the money was. My producer, Njeri Karago—she had the concept for the first draft—was amazing because she raised money for this unusual film about Kenyans just living, working, cheating on each other, kissing, having affairs in the night, dancing really sexy. When we released it, all the songs on the soundtrack were hits on the radio. At the time we kept on being asked, “Why are you making pornography?” But we freed the audience in a way because people would come up and say, “For the first time, I see myself.” And people would do this bizarre thing—which I could never get over—they’d recite, like, half the lines in the film. And I’d ask, “How many times did you watch it?” “Ten, twelve.” What we’d created was something that people had never seen: themselves. I think more and more you’re going to be seeing this, all sorts of films of people just being themselves—it’s already happening.

The other thing a lot of film journalists asked about Dangerous Affair: “Why have you made a Western movie?” Well, I live in a city, my friends live in a city, my parents live in a city—you know, people actually live here, and we do kiss. We’re not copying the West; that’s how we live.

Lupita: We live in a contradictory society, and it will not reconcile with our tradition or our modernity, and our films need to reflect that conflict. There are those of us who live in a very Western Nairobi—as far as we’re concerned, we might as well be in America. We are always grappling with this identity, and that’s what our films need to reflect. There’s not one layer . . . our identity is so layered.

Judy: Exactly. On our side of town, people loved Dangerous Affair. But guys on the other side of town, some guys from Eastlands, they were like, “Nobody lives that way—it’s an impossible film, because people don’t really live like that.”

Lupita: You cannot find a film that will cater to everyone. There’s got to be some that cater to the Eastlands boys, but there’s also got to be some that reflect that Western society that exists in Kenya. With regard to educating the audience, I think the existence of the film is the education, in itself.

Wanuri: But also, you can create platforms for discussion. We created Multiple Initiative, where we screen films and hold a Q&A session afterwards, so you can have a conversation. For me, understanding films came from being able to talk about them. I don’t take filmmaking lightly; I think that in the same way people deconstruct literature, you should be able to deconstruct film, because each film says something about this society at that time, in that moment. Dangerous Affair is a historical document of people and culture, of art, and of our society.

Lupita: Audience education is the area we need to move into. Right now Kenya is in a place where film is primarily entertainment: Bruce Lee and Jackie Chan, that sort of action film. You go “Whoa!” And then, after you’re energized and you’ve forgotten your problems for a moment, you’re back in the midst of things. It’s an escape, and it should be an escape, but it’s also a reflection of your society, especially if you’re watching relevant films. Film analysis needs to be in universities and other educational settings so people can learn how to look at film in a deeper way. It does help to understand where a film is coming from, to deepen your understanding of it. And not just film—we could use that analysis in a lot of areas of Kenyan life.

Ekwa: What is it like to show your films to different audiences? What is it like having people learn about or scrutinize Kenya, East Africa, through the experience of your film?

Wanuri: In a recent interview I was talking about my new sci-fi film, and the interviewer said, “With so many African stories to tell, why would you do sci-fi?” What is that supposed to mean? What is an African story? Am I not African by telling the story? And defining that African identity can become so convoluted, because what is Africa, then? …

About the directors

Wanuri Kahiu is an alumna of UCLA’s master’s program in film directing. She made her professional debut in 2006, directing a behind-the-scenes documentary, The Spark that Unites. In 2008 she completed her first feature film, From a Whisper, which was based on the real life events surrounding the 1998 twin bombings of U.S. Embassies in Nairobi and Dar es Salaam. The film went on to win several international awards. Kahiu has recently completed a short science fiction film, Pumzi (2009), which was partially funded by Focus Features (part of NBC Universal), the Goethe-Institut, and Changa Moto Fund in Kenya.

Judy Kibinge is a Kenyan writer and filmmaker. After creating numerous commercials during her eight years in advertising (three as creative director on Pan African brands such as Coca-Cola North Africa Division, Unilever, and Kenya Breweries), she decided to pursue filmmaking. Her award-winning films include Dangerous Affair, winner of the ZIFF Best East African Production Award, and Bless This Land, winner of the Kenya International Film Festival Best Documentary Award. She owns Seven, an independent production house based in Nairobi, Kenya, which she founded in 2006.

Lupita Nyong’o has worked on the production teams of critically acclaimed films, including The Constant Gardener (2005), directed by Fernando Meirelles, and The Namesake (2006), directed by Mira Nair. In 2007, she wrote, produced, directed, and edited her first film, the award-winning documentary In My Genes. In 2009, Nyong’o was featured as the lead role in MTV’s hit TV series Shuga, an innovative campaign to fight the spread of HIV/AIDS and its stigma in developing countries. She is currently pursuing a Master of Fine Arts in Acting at Yale School of Drama.


Kagendo Murungi

Biography: Kagendo Murungi is a Kenyan feminist who works in independent partnership with artists and activists around the world to develop and produce independent film projects, festivals and other sites for creative cultural agency. She helped institute the position of Africa program officer at the International Gay & Lesbian Human Rights Commission (IGLHRC). A former international grants panel member of the Astraea Lesbian Foundation for Justice, Ms. Murungi continues to work in community with Pan-African immigrants on grassroots initiatives and in support of sexual and political dissidents. Kagendo received her BA in Women’s Studies from Rutgers University and her MA in Media Studies from the New School for Social Research. She was greatly honored to have her essay, Small Axe at the Crossroads: A Reflection on African Sexualities and Human Rights, published in Sing, Whisper, Shout, Pray!: Feminist Visions for a Just World, ed. M. Jacqui Alexander, Lisa Albrecht, Sharon Day, and Mab Segrest (EdgeWork Books, 2003), 489-501.

(Source: http://www.womenarts.org/network/profile_1096.html)

Films Shown in AFF, Inc. Programs:
Via New York (2007).

Via New York (1995);
Sunshine Boutique (2006).

Wanjiru Kinyanjui

Biography: Wanjiru Kinyanjui was born in Kenya in 1958. Before becoming a filmmaker, she was a writer, poet, and radio journalist. She obtained her master’s degree in English Literature and German in Berlin before enrolling in the German Film and Television School in Berlin. During her studies, she directed A Lover and Killer of Colour (1988), The Bird with the Broken Wing (1990), Black in the Western World (1992), and Clara Has Two Countries (1992). Since then, she has directed numerous fiction and documentary films.

– AFF, Inc.
Through African Eyes – Dialogues with the Directors, BONETTI Mahen and REDDY Prerana (Editors), 2003, African Film Festival, Inc. and Printinfo JV LLC, Yerevan, Armenia, p.94)

Films Shown in AFF, Inc. Programs:
The Battle of the Sacred Tree (1996).

…If Joined by a Stranger […Wen nein Fremder dazu kommt] (1987);
The Reunion (1988);
A Lover and Killer of Colour (1988);
Karfunkel – Der Vogel mit dem gebrochenen Flügel (1990);
Clara Has Two Countries (1992);
Black in the Western World (1992);
Vitico, a Living Legend (1993);
The Battle of the Sacred Tree (1994);
Die Rechte der Kinder – Der aufgespürte Vater (1997);
Koi and Her Rights [Koi na Haki Zake] (1997);
Daudi’s Gift [Zawaki ya Daudi] (1997);
Die Rechte der Kinder – Anruf aus Afrika (1998);
African Children (1999);
And This Is Progress (2000);
Say No to Poverty (2001);
Member of the Jury (2001);
Manga in America (2007);
Bahati (2008);
Africa Is a Woman’s Name – Amai Rose: A Portrait of a Zimbabwean Woman (2009).

Wairimu Kiambuthi

Biography: Dr. Wairimu Kiambuthi is a native of Kenya. She is a former media consultant at Columbia University, USA. Her first film, the documentary Africans and African-Americans in the United States (2006) was inspired by the need to create a visual medium developing beneficial partnerships through promoting understanding between Africans living in the United States.

(Source: http://endeleaproductions.com/Home.html)

Films Shown in AFF, Inc. Programs:
Africans and African-Americans in the United States (2007).

Africans and African-Americans in the United States (2006).

Wanuri Kahiu

Biography: Wanuri Kahiu is an alumna of UCLA’s master’s program in film directing and made her professional debut in 2006, directing a behind-the-scenes documentary, The Spark that Unites. In 2008 she completed her first feature film, From a Whisper, which was based on the real-life events surrounding the 1998 twin bombings of US Embassies in Nairobi and Dar es Salaam. The film went on to win several international awards. In 2009 Kahiu completed a short science-fiction film, Pumzi (Air), which was partially funded by Focus Features (part of NBC Universal), the Goethe-Institut, and Changa Moto Fund in Kenya.

(Source: Through African Eyes – Conversations with the Directors – Volume 2, BONETTI Mahen and SEAG Morgan (Editors), 2010, African Film Festival, Inc. and Printinfo JV LLC, Yerevan, Armenia, p.140)

Films Shown in AFF, Inc. Programs:
From a Whisper (2010);
Pumzi [Air] (2010).

Reflection (2005);
Ama’s Mama (2005);
The Spark that Unites (2006);
Ras Star (2007);
From a Whisper (2008);
Pumzi [Air] (2009);
For Our Land (2009);
Africa First: Volume One (2011).

Ingrid Mwangi

Biography: Ingrid Mwangi was born in Nairobi, Kenya in 1975 to Kenyan and German parents. After moving to Germany in 1990, she attended the University of Fine Arts Saar, in Saarbrücken, Germany. There, she first studied Graphic Design and then changed her major to New Artistic Media. From 2001, she was an instructor at the Academy of Fine Arts in the Johannes Gutenberg University in Mainz, Germany. Ingrid Mwangi works in a range of media, including video, installation, photography and performance art. Her works confront issues of race, identity and gender. Often using her body as subject, Mwangi explores her physicality, as well as issues of blackness and heritage, in relation to sociopolitical systems. She investigates identity in the context of personal experience and cultural positions on the foreign and exotic. From 1998 to 2002, she received a stipend from the Studienstiftung des Deutschen Volkes.  Mwangi often collaborates creatively with her husband and fellow artist, Robert Hutter.

– AFF, Inc.

Films Shown in AFF, Inc. Programs:
Digital Africa – Within a Shadow Lies What Will Fall (2003 – Robert Hutter, Ingrid Mwangi).

Appearance and Reality (1991 – Robert Hutter, Ingrid Mwangi);
First to Throw a Stone (1992 – Robert Hutter, Ingrid Mwangi);
Through the Wind (1993 – Robert Hutter, Ingrid Mwangi);
The Spirit Moves Where It Chooses (1993 – Robert Hutter, Ingrid Mwangi);
Summit of Creation (1994 – Robert Hutter, Ingrid Mwangi);
The Power of the Wound (1994 – Robert Hutter, Ingrid Mwangi);
The Inviolability of the Individual Freezes (1995 – Robert Hutter, Ingrid Mwangi);
Conversing Monitors (1996 – Robert Hutter, Ingrid Mwangi);
How Far Away Do You Have to Be (1996 – Robert Hutter, Ingrid Mwangi);
There Is Always No Reason (1996 – Robert Hutter, Ingrid Mwangi);
Messengers of Violence (1996 – Robert Hutter, Ingrid Mwangi);
Conversing II (1997 – Robert Hutter, Ingrid Mwangi);
How Deep Can You Sink (1997 – Robert Hutter, Ingrid Mwangi);
The Wild Audience (1997 – Robert Hutter, Ingrid Mwangi);
To Be Like Her (1997 – Robert Hutter, Ingrid Mwangi);
More Room (1998 – Robert Hutter, Ingrid Mwangi);
Breathe Out (1999 – Robert Hutter, Ingrid Mwangi);
Neger (1999 – Robert Hutter, Ingrid Mwangi);
Wild Life (1999 – Robert Hutter, Ingrid Mwangi);
Do Not Disturb (1999 – Robert Hutter, Ingrid Mwangi);
Masked (2000 – Robert Hutter, Ingrid Mwangi);
Virtual Body (2000 – Robert Hutter, Ingrid Mwangi);
Cross Over (2000 – Robert Hutter, Ingrid Mwangi);
Neger Don’t Call Me (2000 – Robert Hutter, Ingrid Mwangi);
Twelve Thoughts (2000 – Robert Hutter, Ingrid Mwangi);
Desperate for Change (2001 – Robert Hutter, Ingrid Mwangi);
My Heart of Darkness (2001 – Robert Hutter, Ingrid Mwangi);
Down by the River (2001 – Robert Hutter, Ingrid Mwangi);
Coloured (2001 – Robert Hutter, Ingrid Mwangi);
See in the Light (2002 – Robert Hutter, Ingrid Mwangi);
To Be in the World (2002 – Robert Hutter, Ingrid Mwangi);
See Violence (2002 – Robert Hutter, Ingrid Mwangi);
Travels of the Veiled (2002 – Robert Hutter, Ingrid Mwangi);
Dressed Like Queens (2003 – Robert Hutter, Ingrid Mwangi);
Cutting the Mask (2003 – Robert Hutter, Ingrid Mwangi);
Censored Rooms (2003 – Robert Hutter, Ingrid Mwangi);
Chameleon (2003 – Robert Hutter, Ingrid Mwangi);
Digital Africa – Within a Shadow Lies What Will Fall (2003 – Robert Hutter, Ingrid Mwangi);
Splayed (2004 – Robert Hutter, Ingrid Mwangi);
Fast Play (2005 – Robert Hutter, Ingrid Mwangi, Pascale Marthine Tayou);
Headskin (2005 – Robert Hutter, Ingrid Mwangi);
My Possession (2005 – Robert Hutter, Ingrid Mwangi);
Blood Poem (2006 – Robert Hutter, Ingrid Mwangi);
In My House (2006 – Robert Hutter, Ingrid Mwangi);
Man of War (2006 – Robert Hutter, Ingrid Mwangi);
For Children (2006 – Robert Hutter, Ingrid Mwangi);
Mzungu (2006 – Robert Hutter, Ingrid Mwangi);
Forward to Somewhere in Africa (2006 – Robert Hutter, Ingrid Mwangi);
Sleepers (2006 – Robert Hutter, Ingrid Mwangi);
Homesick (2006 – Robert Hutter, Ingrid Mwangi);
Being Bamako (2007 – Robert Hutter, Ingrid Mwangi);
Retrocession (2007 – Robert Hutter, Ingrid Mwangi);
Cryptic, a Traveler’s Diary (2007 – Robert Hutter, Ingrid Mwangi);
Retracing Johannesburg (2007 – Robert Hutter, Ingrid Mwangi);
Performance of Doubt (2007 – Robert Hutter, Ingrid Mwangi);
Window in the Desert (2007 – Robert Hutter, Ingrid Mwangi);
7 Sacred Moments (2008 – Robert Hutter, Ingrid Mwangi);
Beauty, in the Eye of the Beholder (2008 – Robert Hutter, Ingrid Mwangi);
Homeland (2008 – Robert Hutter, Ingrid Mwangi);
Human Walk (2008 – Robert Hutter, Ingrid Mwangi);
Triumph of her Death (2008 – Robert Hutter, Ingrid Mwangi);
Creepcreature (2009 – Robert Hutter, Ingrid Mwangi);
Eastleigh Crossing (2009 – Robert Hutter, Ingrid Mwangi);
Es’Gangeni (2009 – Robert Hutter, Ingrid Mwangi);
One Kenyans (2009 – Robert Hutter, Ingrid Mwangi);
The Cage (2009 – Robert Hutter, Ingrid Mwangi);
The Hum (2009 – Robert Hutter, Ingrid Mwangi);
Paradise: The Hidden Land (2011 – Robert Hutter, Ingrid Mwangi);
Power for Japan (2011 – Robert Hutter, Ingrid Mwangi);
Fairy Tale of the Black Mountain (2011 – Robert Hutter, Ingrid Mwangi);
Reviving the Fittest (2011 – Robert Hutter, Ingrid Mwangi);
Generationzzz (2012 – Robert Hutter, Ingrid Mwangi);
The View (2012 – Robert Hutter, Ingrid Mwangi);
Black Tree (2012 – Robert Hutter, Ingrid Mwangi);
Dandora Pool (2012 – Robert Hutter, Ingrid Mwangi).