Status Of Art Research Articles

Символика музея в институциональной теории и выставочных проектах

The article considers the role of the museum as an actor of institutional practice in determining the status of contemporary art. The institutional theory of George Dickie and Arthur C. Danto is an adequate alternative to aesthetics in the evaluation of contemporary artworks, though in the last decades the art world became more and more commercialized. Big galleries, art dealers, and art auctions are actively involved in evaluating art. Nevertheless, the museum often remains the last judge to label an artwork as ‘real’ art. If in a traditional museum one expects to see ‘authentic’ works of classical art, in a museum of contemporary art he/she expects to see ‘true’ art, i.e. artworks recognized as art by museum experts. The popularity of the idea, meaning, and symbolics of the museum is demonstrated in numerous curatorial conceptions. The attraction of the museum idea in the context of contemporary art and exhibition practice was shown, for example, in the project “Lc. 15: 11-32” in the Russian Pavilion at the Venice Biennale (2019), curated by the State Hermitage Museum. The exposition at the Pavilion reflected the tragedy of human being in the context of contemporaneity, the Gospel parable, and paraphrases of well-known pictures of Dutch and Flemish schools of painting at the Hermitage. This and other projects dedicated to the idea of the museum show modern metamorphoses of traditional museum tasks: to collect, to label, to demonstrate, and to educate.

The Visibility of Multisensor Fusion Technology in Public Art Design

This exploration is aimed at improving the efficiency and safety of fully automatic line operation in public space. From the perspective of multisensor fusion technology, the definition, development status, and design principles of public art, as well as the related applications of multisensor fusion technology theory and image fusion theory, are introduced by consulting relevant literature. Then, the scheme of subway platform door gap antipinch detection system based on multisensor fusion and the obstacle detection method of tram in transit are proposed. Finally, through the method of questionnaire, the passengers’ cognition of public art in subway space and the concerned components of public art in subway space are analyzed. The results show that the subway space art content loved by passengers is mainly daily life, and the degree of love can reach 28%, followed by local customs, culture, and fashion trends, with a degree of love of 23%. Besides, the problem of obstacle detection of tram in transit is also studied, and a new obstacle detection method combining visual sensor transmission detection and lidar detection is proposed. This method can quickly and accurately identify unsafe factors. Therefore, the research on the visibility of multisensor fusion technology in public art design has great reference significance for the rapid development of transportation industry.

Онтологический статус искусства в философии Р. Ингардена

The study aims to determine the ontological status of art in R. Ingarden’s phenomenological aesthetics. The author touches upon the issues of specificity of an art piece existence within the framework of the phenomenological approach, the problem of identity and ontological structure of an art work. The study is novel in that it develops and provides rationale for the phenomenological approach to the issue of the ontological status of art demonstrated in R. Ingarden’s works. The research findings amount to the following points. Within the framework of the phenomenological approach to existence, Ingarden shows that an art piece cannot be reduced to its material existence and that it is necessary to acknowledge its existence as being of a special non-material kind - as an intentional object. The main characteristic of a work of art, according to Ingarden, is its schematic nature, so that the content expressed by it has an infinite potential for its actualisation.

Coverage of isoniazid preventive therapy among people living with HIV; A retrospective cohort study in Tanzania (2012-2016)

BackgroundIsoniazid Preventive Therapy (IPT) is a proven public health tool to reduce Tuberculosis (TB) among people living with HIV. However, its implementation in most countries is suboptimal. This retrospective study was conducted to determine the coverage and factors associated with IPT initiation to inform program scale up and improve quality of service in Tanzania and elsewhere. MethodsRetrospective cohort study design involving HIV clinics in Dar es Salaam, Iringa and Njombe regions from January 2012 to December 2016. ResultsA total of 171,743 PLHIV were in the cohort from 2012 to 2016. Of these, 166,709 were involved in the analysis. Of those analyzed, 23,970 (14.38%) were ever initiated on IPT. Female sex (aOR = 1.72, 95% CI: 1.13, P < 0.001), obesity (aOR = 1.29, 95% CI:1.20−1.39, P < 0.001), WHO clinical stage II (aOR = 1.48, 95% CI: 1.42−1.55, P < 0.001), enrolment in hospitals (aOR = 1.98, 95% CI: 1.89−2.06, P < 0.001), enrolment in Njombe region (aOR = 1.25: 95% CI: 1.18−1.33, P < 0.001) and enrolment in public health facilities (aOR = 1.93: 95% CI: 1.82−2.04, P < 0.001) were associated with increased IPT uptake. Being on ART (aOR = 0.67, 95% CI: 0.65−0.70, P < 0.001) and severe nutritional status (aOR = 0.72, 95% CI: 0.60−0.88, P < 0.001) were associated with decreased IPT initiation. ConclusionsOur study documented low IPT initiation in the study area as well as documented factors which enable IPT initiation and those which impair IPT initiation. Strategies are needed to work on barriers and sustain enabling factors to improve IPT coverage.

An Institutional Politics of Place: Rethinking the Critical Function of Art in Times of Growing Inequality

This article reflects on the current status of art’s critical power in a world of intensifying economic inequality. We document how the art world is saturated with economic imperatives that limit the power of conventional artistic critique to meaningfully contest economic instrumentalism. Such imperatives also constrain both artistic and curatorial choices, with profound implications for questions of representation. Informed by interviews with artists, curators and managers of leading art institutions in London, we outline an emergent politics that acknowledges the way that inequalities are sustained and accumulate over long periods of time and is committed to addressing ‘historic wrongs’. We argue that an especially powerful dimension here is geographical, with institutions reconsidering their own historical and contemporary locations as a means of subverting universalising narratives that mask dominant power. We suggest that this focus on spatiality presents a promising approach to addressing contemporary inequalities in the art world by being able to productively link concerns around representation to a critical recognition of the spatially located impact of economic inequality.

Sagnac Gyroscopes and the GINGER Project

Large frame optical Sagnac gyroscopes, more commonly called ring laser gyroscopes, are considered the only device able to provide fast and very high sensitivity measurement of the length of the day (LOD), and of the Earth rotation axis variations. Several large frame Sagnac gyros are presently operative with high duty cycle and sensitivity well below fractions of nrad/s in 1 second measurement. At present other inertial angular rotation sensors are not competitive with ring laser gyroscopes. The feasibility depends on the so called hetero-lithic ring lasers. The present status of art is reported, and the feasibility of the main goals for geodesy discussed.

Depletion and activation of mucosal CD4 T cells in HIV infected women with HPV-associated lesions of the cervix uteri.

BackgroundThe burden of HPV-associated premalignant and malignant cervical lesions remains high in HIV+ women even under ART treatment. In order to identify possible underlying pathophysiologic mechanisms, we studied activation and HIV co-receptor expression in cervical T-cell populations in relation to HIV, HPV and cervical lesion status.MethodsCervical cytobrush (n = 468: 253 HIV- and 215 HIV+; 71% on ART) and blood (in a subset of 39 women) was collected from women in Mbeya, Tanzania. Clinical data on HIV and HPV infection, as well as ART status was collected. T cell populations were characterized using multiparametric flow cytometry-based on their expression of markers for cellular activation (HLA-DR), and memory (CD45RO), as well as HIV co-receptors (CCR5, α4β7).ResultsCervical and blood T cells differed significantly, with higher frequencies of T cells expressing CD45RO, as well as the HIV co-receptors CCR5 and α4β7 in the cervical mucosa. The skewed CD4/CD8 T cell ratio in blood of HIV+ women was mirrored in the cervical mucosa and HPV co-infection was linked to lower levels of mucosal CD4 T cells in HIV+ women (%median: 22 vs 32; p = 0.04). In addition, HIV and HPV infection, and especially HPV-associated cervical lesions were linked to significantly higher frequencies of HLA-DR+ CD4 and CD8 T cells (p-values < 0.05). Interestingly, HPV infection did not significantly alter frequencies of CCR5+ or α4β7+ CD4 T cells.ConclusionThe increased proportion of activated cervical T cells associated with HPV and HIV infection, as well as HPV-associated lesions, together with the HIV-induced depletion of cervical CD4 T cells, may increase the risk for HPV infection, associated premalignant lesions and cancer in HIV+ women. Further, high levels of activated CD4 T cells associated with HPV and HPV-associated lesions could contribute to a higher susceptibility to HIV in HPV infected women.

How the Persian Qalam Caused the Chinese Brush to Break: The Bahram Mirza Album Revisited

Abstract This essay addresses the significance and status of Chinese art in sixteenth-century Iran through the lens of Safavid scholars, painters, and album compilers, as well as their patrons. It focuses on the album that Dust Muhammad compiled for Bahram Mirza, completed in 1544/45 and largely preserved in its original arrangement. A close examination of the relationship between the Chinese and Persianate paintings in this album—and comparisons with other paintings and drawings—demonstrates the ways in which Chinese artworks were perceived, adopted, and self-consciously adapted during Shah Tahmasp’s reign (r. 1524–76). Furthermore, my analysis of Dust Muhammad’s preface to the Barham Mirza Album and other important contemporary primary sources, such as the poem Āyīn-i Iskandarī (The Rules of Iskandar, 1543/44) by ʿAbdi Beg of Shiraz, reveals an early Safavid reluctance to embrace optical naturalism, which was strongly associated with the Chinese aesthetic. This analysis also elucidates the growing sense of a distinct pictorial style in Safavid Iran, which was thought to derive from an inner vision situated in the mind or heart of the painter. The mimetic abstraction of this Safavid-Shiʿi aesthetic, initially connected to Imam ʿAli, was considered superior to the optical naturalism of the Chinese aesthetic.

Virtual Tower, ‘Virtual’ Pit: On Potentiality and the Status of Unrealised Art

An examination of the relationship between virtual art and the politics of possibility, explored through the ideas of Deleuze and Agamben regarding power and materiality, with reference to the works of Valdis Celms, Vladimir Tatlin, Lyubov Popova, Netochka Nezvanova, Lygia Pape and Hito Steyerl.

“The Phenomenon of Culture is the Phenomenon of Bread”: The Debate on Culture in Belarus (1988–1991)

The scope and content of public debate in the USSR increased radically with the onset of perestroika. The ‘new thinking’ introduced by Soviet leader Mikhail Gorbachev sought to embrace both societal organisation and the individual set of values. This change in political organisation made broad public discussion possible, centring on change as well as the means leading to it. Culture happened to be at the very epicentre of this debate, as it lay at the intersection of collective and private.&#x0D; Socialist culture claimed to be an intrinsically ‘serious’, ‘genuine’ culture setting itself against the ‘trivial’ and ‘superficial’ bourgeois culture of the West. The CPSU used socialist realism to promote and encourage monumental genres in literature (novel and poem), music (symphony), art and architecture.&#x0D; The late 1980s challenged the established notion of culture. In the BSSR (Belarusian Soviet Socialist Republic), the younger generation of intellectuals (for the main part literati) explored previously neglected genres of mass culture such as the comic, detective novel, erotica, and rock music, thus questioning the ‘sacred’ status of literature and art. Simultaneously, they pushed the boundaries between the local and the global (looking for worldwide connections with Belarusian culture), past and present (rehabilitating authors and ideas rejected by Soviet censorship).&#x0D; Such semantic processes were coincident with a material turn. A group of intellectuals arose willing to invest personal time and finances into projects that prompted a revolution in the field of culture. Individual efforts had a cumulative effect, in one way or another requiring the re-distribution of public resources: for example, the publishing plans of the state publishing houses, the thematic scope and structure of academic research, school and university education.&#x0D; Considering these two aspects of structural change and relying on publications in the leading intellectual journal of the time, this paper seeks to grasp the features of this structural change. Staying away from teleological, lineal interpretations, we emphasize the discrepancy, contradiction and multilayering of the structural change as understood by Foucault and Skinner. The third concern of the article is the grip of the old language structures with the new discursive reality of perestroika.

Bulgarian Culture after 1989

This article deals with the changes in Bulgarian culture after the fall of the Communist regime in Bulgaria in 1989. The first sections sketch the state of the Bulgarian culture and society during the later years of the communism. They describe the change in official ideology, i.e. the return to nationalism. The controversial role of the Communist regime in the modernization process of society is analyzed, with its simultaneous modernization and counter-modernization heritage. Then we shift to the changes in society and culture that have taken place since the fall of the regime. Attention is focused on the new mass culture, the embodiment of the value crisis in which the post-Communist Bulgarian society is located. The radical transformations in the field of the so-called ‘high’ culture are examined, especially the financial difficulties and the overall change in the social status of arts and culture. The basic trauma of the Bulgarian culture embodied in the constantly returning feeling of being a cultural by-product of the West is brought out. The article concludes that Bulgarian post-Communist culture has failed to create a more complex and flexible image of the “Bulgarian” that can use the energies of globalization without feeling threatened by disintegration.

Rutinas de la experiencia común. El artista Spinoziano como productor

El presente trabajo explora el estatuto del arte en la filosofía de Spinoza (aspecto poco estudiado por la crítica), en el marco de la inversión copernicana que da origen a la estética (las “cualidades secundarias” no son propiedades de los objetos sino efectos en los sujetos que perciben) y del barroco holandés. Si bien el pensamiento spinozista se inscribe en la conversión antropológica, en virtud de la cual lo bello resulta ser un efecto en el sujeto y no una cualidad de los objetos, su comprensión del arte es inasimilable a la “estética” como ámbito diferenciado y autónomo que se consolida en el siglo XVIII, y más bien concibe el arte integrado a la vida y a la experiencia común –a la vez que, en cuanto praxis de origen corporal al alcance de cualquiera, presenta puntos de contacto con las vanguardias históricas del siglo XX–. Spinoza, según se propone en este texto, concibe la producción de “obras de arte” menos como un hecho estético que como una actividad corporal éticamente orientada a la vida buena.

Cryptococcal antigenemia and its predictors among HIV infected patients in resource limited settings: a systematic review

BackgroundCryptococcosis is an opportunistic fungal infection that primarily affects people with advanced HIV/AIDS and is an important cause of morbidity and mortality around the globe. By far the most common presentation of the disease is cryptococcal meningitis (CM), which leads to an estimated 15–20% of all HIV related deaths worldwide, 75% of which are in sub-Saharan Africa. However, to the best of our knowledge there is quite limited reviewed data on the epidemiology of cryptococcal antigenemia in a large HIV-infected population in resource limited settings.MethodsArticles published in English irrespective of the time of publication were systematically searched using comprehensive search strings from PubMed/Medline and SCOPUS. In addition, Google Scholar and Google databases were searched manually for grey literature. Two reviewers independently assessed study eligibility, extracted data, and assessed risk of bias. The pooled prevalence of cryptococcal antigenemia was determined with 95% confidence interval (CI).ResultsAmong 2941 potential citations, we have included 22 studies with a total of 8338 HIV positive individuals. The studies were reported in ten different countries during the year (2007–2018). Most of the articles reported the mean CD4 count of the participants below 100 cells/μl. The pooled prevalence of cryptococcal antigenemia at different CD4 count and ART status was at 8% (95%CI: 6–10%) (ranged between 1.7 and 33%). Body mass index (BMI) < 18.5 kg/m2, CD4 count < 100 cells, patients presenting with headache and male gender were reported by two or more articles as an important predictors of cryptococcal antigenemia.ConclusionsImplementing a targeted screening of HIV patients with low BMI, CD4 count < 100 cells, having headache and males; and treatment for asymptomatic cryptococcal disease should be considered. Additional data is needed to better define the epidemiology of cryptococcal antigenemia and its predictors in resource limited settings in order to optimize the prevention, diagnosis, and treatment strategies.

‘No additional information required’: creative writing as research writing

The question of whether artistic practice might be construed as a research practice is one that has been pursued extensively since the 1990s. Much in the discourse remains open to contention, though a degree of consensus has emerged on certain key themes: that art is indeed productive of knowledge, that this knowledge is to be understood experientially and non-conceptually, but that it must be framed in a form consistent with established academic procedures. Jen Webb’s several contributions to this discourse provide a valuable context for considering whether it may be possible to overcome the conceptual and practical separation between art and the academy. Using Webb’s work as a frame, this article engages with the debate about the knowledge status of art through a consideration of its contradictions, and suggests that a pragmatic solution is to be found in the operations of the UK’s Research Excellence Framework (REF), which now accepts the research credentials of creative writing as being self-evident.

Confined vulnerability of HIV infection among pregnant women attending antenatal care clinics in Karnataka, India: Analysis of data from the HIV sentinel surveillance 2017

BackgroundHIV Sentinel Surveillance among pregnant women attending antenatal care clinics, ANC-HSS, is used to estimate HIV prevalence among the general population. Despite the declining trend, HIV prevalence among the general population in Karnataka is still higher than the national average (0.22%), with a recent, noticeable stabilization. Demographic analysis on concentrated HIV infection among pregnant women could be potential indicators for targeted HIV interventions among general population as well as and prevention of parent to child transmission (PPTCT). ObjectivesTo analyse the demographics of HIV-positive pregnant mothers in Karnataka, thereby identifying the most-at-risk populations (MARP) within the general population. MethodsIn total, 24800 eligible pregnant women aged 15–49 attending the ANC clinic for the first time during the surveillance period (Jan–Mar, 2017) were enrolled. Demographic data and blood samples were collected, recorded and tested for HIV. Age-specific factors associated with HIV prevalence, besides the demographics of the HIV positive pregnant women, were analysed to identify the MARP for targeted HIV interventions. ResultsComprehensively, none of the demographic factors was significantly associated with HIV prevalence. Nevertheless, analysis of demographics, HIV test history and ART status of HIV-positive pregnant women reveals prominent prevalence patterns. The epidemic was majorly confined within young, less educated, primigravida and rural mothers of low economic status. ConclusionANC-HSS is designed to estimate the HIV prevalence among general population at national, state and district levels and is not reflective of the concentrated epidemic confined to MARP. Identifying the disease pattern specific to MARP is essential for effective targeted interventions and disease management.

Prevalence and Sequelae of Cryptococcal Antigenemia in Antiretroviral Therapy-Experienced Populations: An Evaluation of Reflex Cryptococcal Antigen Screening in Botswana.

Evidence to inform cryptococcal antigen (CrAg)-screening guidelines among ART-experienced populations is lacking. We performed a study evaluating the utility of reflex CrAg screening in Gaborone, Botswana. CD4 count data were collected from the HIV reference laboratory from 2014-2016. CrAg screening was performed on samples with CD4 ≤100 cells/µL beginning January 2015. The proportion of CD4 counts ≤100 cells/µL was determined and the frequency of repeat CrAg testing described. Analyses ascertained the impact of ART status on CrAg prevalence and outcomes, and whether CrAg titers could be used for risk stratification. Overall, 5.6% (3335/59 300) of individuals tested had CD4 ≤100 cells/μL; 2108 samples with CD4 ≤100 cells/μL from 1645 unique patients were CrAg tested. Over half of samples were from ART-experienced individuals: 40.9% (863) on ART and 12.1% (255) defaulters; 22% (463) of CrAg tests were on repeat samples. CrAg prevalence was 4.8% (72/1494; 95% CI, 3.8-6.0%) among outpatients and 21.9% (32/151; 95% CI, 15.3-28.5%) among inpatients. CrAg prevalence rates did not differ by ART status, but 6-month mortality was significantly lower in CrAg-positive individuals on ART at screening. Ten CrAg positives were identified through repeat testing. A CrAg titer cutoff ≥1:80 provided the best discrimination for 6-month survival. CrAg-positivity rates in an ART-experienced population were comparable to those seen in ART-naive populations. Repeat screening identified individuals who seroconverted to CrAg positivity and were at risk of cryptococcal disease. CrAg titers ≥1:80 can help identify the individuals at highest risk of death for more intensive management.

Incidence and predictors of tuberculosis occurrence among adults on antiretroviral therapy at Debre Markos referral hospital, Northwest Ethiopia: retrospective follow-up study

BackgroundIn resource limited settings, Tuberculosis (TB) is a major cause of morbidity and mortality among patients on antiretroviral treatment. Ethiopia is one of the 30 high TB burden countries. TB causes burden in healthcare system and challenge the effectiveness of HIV care. This study was to assess incidence and predictors of Tuberculosis among adults on antiretroviral therapy at Debre Markos Referral Hospital, Northwest Ethiopia, 2019.MethodsInstitution based retrospective follow up study was conducted among adults on ART newly enrolled from 2014 to 2018 at Debre Markos Referral Hospital. Simple random sampling technique was used to select patients chart. Data was entered to EPI- INFO version 7.2.2.6 and analyzed using Stata 14.0. Tuberculosis incidence rate was computed and described using frequency tables. Both bivariable and multivariable Cox proportional hazard models was fitted to identify predictors of TB.ResultsOut of the 536 patients chart reviewed, 494 patient records were included in the analysis. A total of 62 patients developed new TB cases during the follow up period of 1000.22 Person Years (PY); which gives an overall incidence rate of 6.19 cases per 100 PY (95% CI: 4.83–7.95). The highest rate was seen within the first year of follow up. After adjustment base line Hemoglobin < 10 g/dl (AHR = 5.25; 95% CI: 2.52–10.95), ambulatory/bedridden patients at enrolment (AHR = 2.31; 95% CI: 1.13–4.73), having fair or poor ART adherence (AHR = 3.22; 95% CI: 1.64–6.31) were associated with increased risk of tuberculosis whereas taking Isoniazid Preventive Therapy (IPT) (AHR = 0.33; 95% CI: 0.12–0.85) were protective factors of TB occurrence.ConclusionTB incidence was high among adults on ART especially in the first year of enrollment to ART. Low hemoglobin level, ambulatory or bedridden functional status, non-adherence to ART and IPT usage status were found to be independent predictors. Hence, continuous follow up for ART adherence and provision of IPT has a great importance to reduce the risk of TB.

Seeking Modern National Design from Traditional National Art

By comparing the advantages between traditional culture and national art, this thesis analyzes the status of national art in modern design. It then points out that as the essence of Chinese civilization, national art has been created after a long time, and that traditional culture and national art, as long as endowed modern design ideas, can reproduce and show their national feature, becoming world-famous Chinese designs with Chinese feature. National art is the art created by the forefathers in the production and living. Every national artwork contains our ancestors’ understanding and reorganization on lives, nature and eternity, reflecting their realization on beauty. Because of the difference of their living environment of geography, nature and humanity, national art also presents different manifestations and creations. The forefathers, who sought water and grass to live, created splendid ceramic culture and farming civilization, while those who lived on the center of grassland created wonderful nomadic civilization. Created in the process of production, living and laboring, these art forms have been enriched, inherited and innovated, becoming the root of Chinese civilization and the ultimate source sought by designers in their work.

CURATORIAL NETWORKS AND MUSEUM CULTURE: Objects and Evidence in Museums of African Art

ABSTRACTThe valuation and display of African art in museum contexts entails contrasting strategies of objectification. In this process, objects may be used as material evidence for larger cultural trends and new movements. This essay examines the role of curatorial networks in creating discourses about African art objects that reframe their cultural significance and economic value. These curatorial networks are treated as a habitus for the art and a discursive framework for its valuation. This analysis builds upon a taxonomic nodal model, which may be used to identify the reconfiguration of museum discourses, curatorial knowledge, and markets for artistic circulation. Two case studies, examining the paintings of Congolese artist Tshibumba Kanda Matulu (1947–circa 1981) from the 1970s and the collection of legendary Malian photographer Seydou Keïta (1921–2001) from the 1960s and the 1970s, demonstrate how curatorial networks reframe the circulation and evidential status of African art over time. The article concludes with an assessment of repatriation claims with relationship to a framework for analyzing the evidential claims of museums.

Assessment of risk factors associated with HTLV-1/-2 infection among people living with HIV/AIDS in Bauchi State, Nigeria

ABSTRACT Introduction: Human T-cell lymphotropic virus (HTLV) is associated with shorter survival of HIV co-infected persons due to masked immunosuppression. Since both retroviruses share similar routes of transmission, there is a need to determine risk factors associated with these pathogens. This study aimed to assess the risk factors associated with HTLV-1/-2 and HIV co-infected among persons attending a secondary hospital in Ningi, Bauchi State, Nigeria. Methods: Blood samples were collected from 182 HIV infected persons and analysed for anti-HTLV-1/2 IgM and IgG antibodies using commercial Enzyme-Linked Immunosorbent Assay (ELISA) kits. Interviewer-based questionnaire were used to collate sociodemographic and risk factor data of the subjects and clinical history were obtained from participants’ medical records. Results: The seroprevalence of anti-HTLV-1/-2 IgM and IgG were 9.9% and 19.8%, respectively. Out of the 80 ART-naïve, 25 (31.3%) were IgM seropositive. Out of 102 ART-experienced, 11 (10.8%) were anti-HTLV-1/-2 IgM positive. There was a significant association between ART status and seroprevalence of anti-HTLV-1/-2 IgM (p=0.009). However, there was no significance association between seroprevalence of HTLV IgM and gender of the subjects (p=0.06). There was a significant association between the seroprevalence of anti-HTLV-1/-2 IgG and education level of subjects (p=0.039). However, no association between anti-HTLV-1/-2 IgG and other sociodemographic variables studied (p˃ 0.05). History of injury from sharp objects (aOR: 5.3, p<0.0001) and consistent protective sexual practice (aOR: 2.27, p=0.033) were associated with seroprevalence of anti-HTLV-1/-2 IgM. Discussion: High seroprevalence of HTLV-1/-2 and HIV co-infection was reported. ART status, protective sexual intercourse and injuries with sharp objects were identified risk factors of co-infection. It’s recommended to consider HTLV screening for all HIV infected persons and vice versa.