Newsletter[ N°8 January–April 2010 Become a friend! Become a Supporter! Become a part ] Centre for Contemporary Art, Lagos (CCA,Lagos) is an independent non-profit making visual art organisation set up in December 2007 to provide a platform for the development, presentation, and discussion of contemporary visual art and culture. It seeks to create new audiences and to prioritise media such as photography, animation, film and video, and performance art which have been under-represented in Nigeria. CCA,Lagos supports the intellectual and critical development of different art and culture practitioners through talks, seminars, workshops and exhibitions. In addition it encourages and promotes the professionalisation of production and curatorship in Nigeria and West Africa collaborating with artists, curators, writers, theorists and national and international organisations. of our world! Centre for Contemporary Art, Lagos 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria. T:+234 702 836 7106 E:
[email protected] W: www.ccalagos.org Look Inside > > International Art Photography Residency Programme > Old News #5 and #6 > Artist Focus: Video and Sound Artist Emeka Ogboh > On ‘The Studio Visit’ by Gabi Ngcobo > Book Review: Contemporary African Art Since 1980 > Rencontres: Reviews of the 8th Bamako Photography Biennial > Past and Upcoming Exhibitions > “An African View of Art” by Ben Enwonwu > City Focus: Accra, Ghana > and more… Editors: Bisi Silva & Antawan I. Byrd / Contributing Editors: Jude Anogwih and Oyinda Fakeye / Contributors: Ben Enwonwu (1917 – 1994) - Jacob Fabricius - Jens Haaning Hansi Loren Momodou - Kenneth Montague - Gabi Ngcobo - Gozi Ochonogo - Abraham Oghobase - Sylvester Ogbechie - Richardson Ovbiebo - Petra Szilagyi. Design: Fabrice Lecouffe - witgraphicdesign.blogspot.com / Cover Image: Paul Sika. (Untitled #1) GloGlo Gospel series, 2007 - Courtesy the Artist. Edition: 2000 / Dedicated to the memory of Charles Onwordi and Lamide Fakeye. CCA,Lagos is published three times a year by Centre for Contemporary Art, Lagos - 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria / © Centre for Contemporary Art, Lagos Please direct comments and inquires to
[email protected] or call +234 0702 2836 7106 Board of Trustees: El Anatsui - Joke Jacobs - Valerie Edozien-Nwogbe Kehinde Oyeleke - Bisi Silva, Director. We gratefully acknowledge the support of AECID through the Spanish Embassy in Nigeria. Contents Newsletter [ N°8 January–April 2010 p1/ •Welcome •International Art Photography Residency Programme p2/ •Forthcoming Programmes - 3rd Johannesburg Art Fair - Pinar Yolacan •Past Programmes p3/ •In Memoriam •Professional Development (1) •Professional Development (2) p4/ •Artist Focus: Emeka Ogboh p5/ •Two Re-Views •On the Studio Visit Gabi Ngcobo p6/ •Old News #5 / Old News #6 p7/ •Portfolio@CCA,Lagos •Thinking Out Loud p8/ •Wedge Curatorial Projects •Beyond Lagos •City Focus: p9/ Accra •Art, Fashion & Identity •Book Review: Contemporary African Art Since 1980 p10/ •Food For Thought: An African View of Art •Storehouse of Infinity p11/ •The Library •CCA,Lagos announce •Images from the Archives p12/ •18 Books We Love! ] Welcome Welcome to our first issue for the new decade. As we wish you a Happy New Year, we do it in the spirit of owambe. A few years ago Nigerians were ranked as the happiest people on earth. I can only attribute that to our fondness of, and our reputation for, attending at the end of the week the numerous owambes (parties) of which weddings are the biggest, most glamorous and at times the most excessive. However, owambe goes beyond just fun to also act as a metaphor for having overcome hurdles and obstacles in what is at times a challenging environment. In that regard, owambe translates as it is all there in Yoruba – the food, the drinks, the people, live bands but more than anything else it symbolises the way in which humanity can bond and endure – to being there. CCA,Lagos starts 2010 with a spirit of reflection and optimism during a landmark year for the African continent. Our yearlong project, under the umbrella title of On Independence and the Ambivalence of Promise, challenges us to reflect on the past fifty years of postcolonial rule. In so doing, we attempt to chart the possibilities for the next fifty years – for a country and a continent that has experienced a myriad of upheavals but also achieved great strides. Part of moving forward is understanding our culture, our history and articulating our aspirations. We hope to do this through the sub-theme of our programme, which will focus on Art, Fashion and Identity. After a successful year long programme in 2009 – generously funded by the Prince Claus Fund and the Mondriaan Foundation - focusing on video art which culminated in the first international video art exhibition in Nigeria, Identity: An Imagined State, in 2010 our focus turns to photography. The year kick starts with an ambitious international art photography residency programme featuring artists and curators from Nigeria, Europe, the Americas as well as participating artists from Cameroon and South Africa, Cameroon and Mozambique. We are excited about the level of dialogue and exchange this affords us. The first exhibition highlights the direction of our interest in 2010 as we focus on Art, Fashion and Identity and the role of photography within contemporary art. In April we present the work of Turkish artist Pinar Yolacan to a Lagos audience. Her stunning photographic series ‘Maria’ allows us to engage in discus- sions concerning gender and beauty in unprecedented ways. This is followed by a group exhibition, Pret-a-PARTager, which features the work of over fifteen artists, photographers and fashion designers across Africa and from Germany. The Nigeria art sector is slowly beginning to accept the blurring of artistic boundaries with collaborations increasing across various media, and including artists who will be showing in Nigeria for the first time. Our international programme sees us attending the 3rd Johannesburg Art Fair in March for the second time. JAF allowed us to grow our network considerably last year, and we see it not only as an important platform for African artists to enter the art market, but also as a way of increasing the visibility for their work. This year we are being more venturesome by taking a group of exciting young artists who are at the beginning of their careers. This year’s exhibition will include, among others, a selection of vividly stimulating photographic works by Paul Sika, an Ivorian artist based in Abidjan. This year we continue to focus on inhouse professional development as CCA, Lagos welcomed Petra Szilagyi for a month-long (January – February 2010) internship programme, which resulted in the artist organizing a video art workshop, staging independent and collaborative performances throughout Lagos in addition to pursuing research on contemporary art. We will also welcome Thom Ogonga, an artist and curator based at the Kuona Trust Art Centre in Nairobi, Kenya. Ogonga is part of the Skills and Knowledge Exchange programme that will align with our upcoming photography residency. As you might have noticed our newsletter, which has increased by almost 200%, sports a refreshing new design in full colour thanks to support from AECID through the Spanish Embassy in Nigeria. We have also added several new sections, which reflect the generous time contribution of our writers. Additions include a city-feature on the art scene in Accra, Ghana, introduction to the Canadian Kenneth Montague’s art collection, studio visit by curator Gabi Ngcobo, as well as the reprint of timeless writing by pioneering modern Nigerian artist Ben Enwonwu. The portfolio section is a shop ‘window’ to present and introduce the work of emerging contemporary artists on the continent. It also serves to encourage the culture of supporting contemporary art and building a much-needed local and continental collector base. CCA,Lagos is nothing without the core of its existence – the library. Throughout 2009 we continued to receive an incredible amount of donations from around the world adding to the ones that we purchase directly. We say a BIGGG thank you to all the organisations, artists, curators, and friends of CCA,Lagos – an innumerable list. We continue to look for ways to increase membership and readership. To encourage the use of the library we have slashed our joining rates by a massive sixty percent despite zero funding from anywhere. But in the spirit of owambe we will continue to be there. Welcome to our world. Bisi Silva Director 1 Paul Sika. (Untitled #1) GloGlo Gospel series, 2007 - Courtesy the Artist. 1 CCA,Lagos / Newsletter issue No.8 / January - April 2010 1 sorry in Yoruba. I was a tough mentor and did my utmost to push him in his design and in his business. Nigeria. 2 In Memoriam Lamidi Fakeye 1928 . to look at works of art intently. the many possibilities for creative minds to share knowledge. his understanding.I think in a bit of horror.Lagos than I did. the Kunsthalle Bern and the Swedish Institute. I have spilled beers and once. the contributions started pouring in. Uchay Chima Joel and Lucy Azubuike to more established international artists such as Berni Searle. is a founding member of the artists collective. Art-iculate 1 The Centre for Contemporary Art. 1 Forthcoming Programmes Past Programmes The final selection of artists was the result of an open call and invitation process that resulted in the presentation of twelve video works by emerging artists such as Emeka Ogboh. from the unreal to the real. colonialism. through old news. Courtesy of Artist. silent presentations are powerful artistic articulations that use seemingly everyday objects such as needles. This includes developing different educational.Lagos newsletter. artists and friends of CCA.3 x 3. interpret and present a spectrum of works that engage the challenges of climate. but also globally. everyone is someone’s uncle or aunty. Olonade apoginifun. 2009 an evocative array of hundreds of soda cans which hung vertically from the ceiling and gave way to textured heaps reminiscent of bodies. in order to construct new ways of perceiving the everyday. He was known at home and abroad. Ndidi Dike. and death as a way of broaching the “impermanence of things.Lagos.Lagos whenever we needed any help.Lagos.who worked closely with him sat with him throughout all the design for the CCA. Lagos.Lagos struck a chord in the imagination of all present. The exhibition. with 31 artists in Malmö. Accompanying the Old News #6 exhibition was Old News #5. Byrd women emerging from stark black backgrounds. Such an endeavour ultimately provided a unique opportunity for art professionals to gain insight into Stockholm’s diverse contemporary art sector. I found that Sweden’s emergence into international contemporary artscape is a result of her resolute sustenance and promotion of purposeful artistic encounters such as residencies. Tracking Traces KIASMA.4 x 34. migratory influx. Shonibare earned an MA from Goldsmiths College. Pinar Yolaçan Pinar Yolaçan ‘Maria’ 17th April – 29th of May 2009 As part of the year long focus on Photography and Art. I found myself publishing exhibitions reviews. South America. UK. which considers art’s potential to transform social spaces through public interventions. from conceptualization to actualization of art projects. we are pleased to present our 2010 programme. or great art (hence his name Olonade --the master artist is among us). We acknowledge the support of the Prince Claus Fund in the realisation of all the Art-iculate lectures. and necessity for. There is no doubt Fakeye’s fame will survive his death and only grow. the environment and the migratory influx. prints with silkscreen glaze. 2 I do not think that it would be difficult to come up with a list. pins. Also supplementing the exhibition was a dynamic “artist’s talk” session that afforded viewers an opportunity to engage with the artist.Lagos newsletter. Moderna Museet.is brought to the fore in the works of Yinka Shonibare and Lucy Azubuike. prompting viewers to re-consider not only the aesthetic merit of the detritus in their environments. especially the studio visits and interactions with some of the Swedish artists. Germany (2008). Shonibare’s artistic practice explores both the current and historical effects of race. it can also be good. Tam Fiofori (Nigeria). consumerism. Miriam Backström (Sweden). This provides a platform on which artists and cultural practitioners can explore new ways of engaging and articulating the conditions of our contemporaneity. thread and silk. During the roundtable. focused on the use of photography.Lagos continues in its objectives of bringing established and emerging artists to a South African audience. CCA. 2009. photography. He looked at me . has over the past two years presented an innovative programme of exhibitions. She lives and works in Abuja. He lives and works in London. as their clippings were linked with the clippings of Nigerian artists according to dates and arranged chronically in a calendar-like structure. is perhaps best known for his appropriation of batik fabrics in sculptural tableaus. Museum of Contemporary Art. I have rarely encountered such acts of kindness and consideration. This residency program aims to emphasize the conceptual dimensions of art photography. has enabled me to realise first-hand the importance of context and how it shapes knowledge. London University in 1991. The exhibition was well received and widely attended with audiences from French expatriate groups. #3 and #4. and received her Bachelor of Fine Arts at Cooper Union in New York City. on the blog Aachronym (http://aachronym.Lagos it was a befitting second year celebration as well as an appropriate anticipation of our focus on photography in 2010. that of the nearby stranger cum relative. Uche Okpa-Iroha. visuality and materiality. In that respect he showed 110% commitment to our absurdly short time delays.Lagos / Newsletter issue No. Turkey. the Caribbean. Lagos. The substantial feedback received was positive as was the interest from educational and media organizations over the course of the exhibition. Nigeria. She attended London’s Central Saint Martins College of Art and Design and Chelsea School of Art and Design. Johannesburg. Iria Ojeikere. his care. ranging from the subtle and poetic series of black paintings on newspaper. and curators including: Akinbode Akinbiyi (Nigeria/ Germany). installation. Project Co-ordinated by Antawan I.Lagos gratefully acknowledges the generous support of the Nordic Culture Point. The artist interrogates our ambivalent and contradictory attitudes toward these issues across diverse forms of media such as video. 6 project between June and July 2009. Low Prices Daily. of friends. sharing and exchange. sound art and photography – to expand their creative potential as they construct new possibilities for engaging the photo-image. placenta and sheep’s testicles. the Ministry of Culture. I remember the first time I met Charles. London. reproduced their photographs and translated their profile text into English in order to broach the portrayal of women in the media. offering viewers an opportunity to experience profoundly the many ways in which archival material can assume new forms of relevance. 1962. Phillipe Pirotte (Belgium/Switzerland). I asked what was revolutionary about the painting they were doing and why is he using names and words without context. Paul Sika. The artists explored most Nigerian newspaper publications. Working across an array of media including performance. Mats Stjernstedt (Sweden).Lagos at Durban Art Gallery. She studied Fine Art at the Academy of Art in Tetouan. mentors and colleagues who have passed into the great beyond. Grace Ndiritu and Bouchra Khalili. and AECID through the Embassy of Spain in Nigeria. CCA. particularly in Denmark. Durban. large-scale. 2006. architecture and the urban environment as representatives of economic and political structures.Lagos in fulfillment of its objectives. We received collections of clippings and collages. specifically Lagos. the 3rd ICP Triennal of Photography. collaged with fabrics and foils and die cut 50. His talk highlighted the need to understand and use photography as a power- Professional Development (1) 72 Art Hours in Stockholm and a FIAC Encounter in Algiers Jude Anogwih ness of the rich possibilities in publishing catalogues and exhibition materials. and his fame rested on solid personal achievements: his skill Charles Onwordi 1968 . Lagos to participate in an art showcase in Sweden. In light of this. 1964. Bahia ended with a befitting guest speaker Shahidul Alam of Drik Photo Agency. critics and artists that supplemented the festival’s primary exhibition. realities and possibilities for full independence that have engaged people and communities across languages. curators. it occurred to me that this was another professional opportunity to represent the Centre for Contemporary Art. Yolaçan’s images are evocative of Old Master portraits. colonialism. On such a list. blogspot. Charles formed part of the inner workings of CCA. May his gentle soul rest in perfect peace. religion and patriarchy and their subsequent influence on the lives and experiences of women. The project attempts to engender new methods of reflecting on the economic. Azubuike received a Fine Art (Graphics) degree from the University of Nigeria. On Independence and The Ambivalence of Promise. It was also the first curatorial project by Jude Anogwih and Oyinda Fakeye – with the help of Hansi Momodu (Former Arts Project Co-ordinator). the exhibition aimed to focus on many of the topical and salient issues in contemporary art across Africa and around the world such as the environment. Johan Thurfjell presenting one of his sculptural works at Gallerie Nordenhake. directors and collectors.Lagos by Aura Seikkula. CCA. “Trash-ing. Once the participating artists realized such possibilities. The presence of artist Jens Haaning and Jacob Fabricius. globalization and class on our contemporary present. Photo: Jide Alakija. UC. I remember once he called me at 10pm as he was worried about CCA. Nigeria. This included disappointments. Pele.Lagos’ ongoing collaboration with P. ful tool for self-representation and communication. satin. video art.8cm (22 1/2 x 16 1/4 x 1 1/2in) Edition of 200 + 20Aps Courtesy of the artist and the Stephen Friedman Gallery. Within days of my arrival at CCA. tradition and gender. Santa Barbara and Professor Frank Ugiomoh. Last year CCA. thus forming the nodal focus of much of his work. The exhibition featured work by two Nigerian artists: Bright Eke and Amarachi Okafor. cultural and sociopolitical concerns of the present as well as questioning one’s relationship to the larger totality.notably Hansi and Antawan . Byrd. Amen. editing a newsletter. My presentation during the festival was on contemporary art. 1 Installation view of CCA’s booth at last years Joburg Art Fair. b. Monna Mokoena of Momo Gallery. cultures and regions. project coordination/management and what I will refer to as a ‘360° art motion’ that is. contemporary art – specifically in Algeria. b. Casualties. conceptual. and to interact with people who are intellectually curious about art’s potential. art markets within and outside the continent and art in the centre of ideological conflicts. (2007) a stunning collection of 22 stunning life size portrait photographs of African-Brazilian When Eva Holström of the Swedish Institute sent me an email inviting CCA. Stockholm Konsthall and Bonnier Konsthall. curator and director of Malmö Konsthall allowed them to present their artistic and curatorial practices before an interested audience. we all shared the same task of contributing to the theoretical discourse on both the condition of. Check out Portfolio@ CCA on Page 7 for a selection of work to be featured at this year’s JAF. traveling to Bamako. Project conceived and developed for the Centre for Contemporary Art. Charles should not have died and in any other country he would not have died. to more overwhelming installations like Causalities. Since 1976. wherein Professor Sylvester Ogbechie. 3 & 4 Pinar Yolacan Untitled. For further information please contact: Antawan Byrd antawan@ccalagos. On the whole. practitioners. Tur- key in 1981. which included two workshops – OneMinute and Linha Imaginaria culminated in the first international video art exhibition in Nigeria. passed away in Ile-Ife on Christmas. 3 TRASH-ING: New Works by Kainebi Osahenye Kainebi Osahenye’s recent solo exhibition at CCA. CCA. patient and a considerate worker with a passion to learn and explore ideas. Haaning selected 33 Page 9-girls. At other times he will call with business strategy I should think about. On several occasions. I am besieged by death and have sat the past five days thinking about his passing. He lives and works in Abidjan. Courtesy the Artist and Michael Stevenson Gallery.” sparked a great deal of dialogue about the status of painting in contemporary Nigerian art. In the work of Paul Sika and Kainebi Osahenye the everyday is foregrounded in their urban portraits whilst the theme of identity . known as Page 9 girls that include semi-nude photographs and personal profiles. visiting artists’ studios. 2009. Over the past 2 years and 6-7 editions of the CCA. As part of CCA. but his passing leaves a great hole in our universe of eminent artists. But in this series the artist subverts regality by dressing her sitters in elaborate hand sewn couture costumes with trimmings of ‘unusual’ materials such as velvet. which is revered among the Yoruba and their neighbors as evidence of divine blessing. sculpture. Bahia. the Public Affairs Section of the US Consulate General in Lagos. Richardson Ovbiebo. video and painting. tripe. he was committed. It had a name which i can’t recall now. Kainebi Osaheyne. man’s inhumanity and the environment. #2. I would mention the way in which Nigerians routinely – and to me unfamiliarly – invoke the word “sorry” as an expression of sympathy. thinking what is this woman talking about and who the hell is she? I went to the exhibition and didn’t see anything revolutionary and said so. and increasing the visibility of contemporary art from across the continent. spanning a page or two.April 2010 3 . Titled Art Pace and Change.org +234 702 836 7106 1 Sabelo Mlangeni. Charles has designed all of them sometimes at very very short notice. whose installation work at INDEX. which brought renowned art professionals such as Prof. he was handing out some leaftlets for an exhibition he was taking part in. seminars. This endeavour was rewarding in offering an invaluable opportunity for networking. Identity: An Imagined State. Dhaka. Chidinma Nnorom. Solange Farkas of Museum of Contemporary Art.2009 a mentorship relationship as I and my colleagues . The acclaimed Nigerian artist and preeminent wood sculptor. She lives and works in Brooklyn. and investigates media. Jelili Atiku. which featured over thirty contemporary artists from Africa.Lagos. 1976 reduces space to its simplest form of expression through her monochromatic wall drawings. Morocco. Photo: Jude Anogwih. The major focus of the Swedish Institute is to showcase Stockholm’s leading galleries and museums–both public and private art institutions–by presenting an exclusive programme of Swedish contemporary art to international curators.Lagos / Newsletter issue No. The artist offered his own take on old news by focusing exclusively on a feature in the sixth largest Danish newspaper Ekstra Bladet. Visit us at Booth No 16 3rd Johannesburg Art Fair express erudite narratives deriving from the artist’s imagination and life experiences. Nigeria. part of the public programme included readings and discussions with two Nigerian writers Jumoke Verissimo and Teju Cole that expanded on the exhibition’s theme. But this is no longer that surprising. This residency allows participants from different artistic backgrounds – painting. Through this series Yolaçan engages with issues of beauty. talks. the exhibition highlighted sub-themes that ranged from mobility. easy accessibility to grants and artists’ education. 6 project a creative portal for information gathering. I mention all of this as a way of reflecting on my experiences as a US Fulbright fellow. Once again. In most of these instances. and in line with global realities. May God grant his family the strength to persevere. to secondary schools. II CCA. It was an interesting opportunity for me to learn advanced skills in strategic and innovative art presentation. critics. 1 Swedish Artist. and 2nd Johannesburg Art Fair. Fotografie Forum International Frankfurt. Mali to see and write about a photography biennial. The resounding standing ovation Alam received in the room packed with mainly photographers. Helsinki. experiences and issues. for we have not had time to do justice to his immense contributions to global contemporary art of his lifetime. He has since been buried. and William West from Nigeria.2009 in wood sculpture as one of the bearers of the 3000-year old Yoruba tradition of ONA. a bowl of pepper soup. As we moved from one Konsthall to the other. Even though our design styles were seemed completely opposite. 2009-10 US Fulbright Fellow/Curatorial Assistant. El Anatsui and visiting his studio. especially at CCA where my experiences have illuminated invaluably the virtues and benefits of collaborative thought and cross-cultural engagement. Sthlm! Sthlm! Sthlm! definitely lived up to the triple repetition of its name as it provided multiple opportunities for participants to network and lay the foundations for future collaborations and communication. University of Port Harcourt contributed insightful essays that elaborate critically Osahenye’s practice. Jide Adeniyi Jones (Nigeria). I found the project professionally valuable and inspirational. presentation and income generating sections such as the photo agency.4cm (19 3/4 x 13 1/2in).political. Nigeria and FrameshopExtra. it considers dreams. I participated in a roundtable discussion among international art historians.Lagos is pleased to present Turkish artist Pinar Yolacan’s critically acclaimed series “Maria”. photography has been practiced for over one hundred years providing a long tradition of the medium in the country. Algiers.Lagos’s longterm survival. Nsukka. 1 Kainebi Osahenye. And these are immense. Identity: An Imagined State The final part of the yearlong video art focus. 2010. Ultimately.Lagos opened and I asked him to design the leaflet for the exhibition of Finnish photography I was curating for Bamako Photography Biennale in 2007 and our first newsletter. of particulars about Nigeria that I find to be striking for their novelty. Charles was a caring human being. and technical possibilities of art photography. the body. Taken over a twelve month period in Itaparica. I have tripped on curbs and have fallen a few times. New York and Istanbul. for the most part. He emphasised the urgent need for the ‘majority-world. historical or sexual . We will not be who we are and where we are without his generosity of time. I also discovered how Swedish artists and art institutions promoted their art activities and programmes – passionately. 2 Yinka Shonibare. For CCA.A. meeting with Prof.Lagos was also brought to fore as a major platform for presentation of art projects. “Trash-ing. Having the opportunity to be in Lagos. International Centre for Photography. (2009) In the light of Play CCA. Simon Njami (Cameroon). all expressing explicit emotions. First published on Dec. ProHelvetia. video film and text. which have resulted in the long-term sustainability of the organisation. CCA. Office for Contemporary Art Norway. Senam Okudzeto (Ghana/Switzerland). The artist explores rigorously the digital potential of photography. His works were full of grace and power. Erruas lives and works in Tétouan. Wa Lehulere. 31. Through their deceptive simplicity they invoke complex emotions such as pain. This is considering that I came to the country for the first time five months ago. aesthetic or contextual revealing layers of stories. 3 Old News #6 at the Centre for Contemporary Art. anyone nearby would remark “sorry” or pele. ma or brother. by encouraging participants to examine the status of photography within contemporary visual art practice as a point of departure. But we know his presence on this earth was not in vain. walking throughout Lagos. We also used to talk about his business and how he can develop and grow it and about marketing strategies he can employ. Yacouba Konate of University of Abidjan. She has participated in several international exhibitions including most recently Dress Codes. CCA. everyone helps everyone else to do everything necessary in fulfilling the centre’s mission of being one of Nigeria’s foremost independent art institutions. Among the many galleries we visited were Magasin 3.” And before I knew it. New York. 2009. Fashion and Identity.E. I am reminded of this relationship every time I consider the abundance of inaccuracies regarding Nigeria that circulates within the global imagination. Nsukka. orun re o! T’o ba d’ohun. moving beyond genres like studio. The intellectual and conceptual underpinning of the project questions the limits of postcolonial critical thinking and ideas. Photo: Iria Ojeikere. have yet to fully explore the discursiveness of the medium. Blackout. Lucy Azubuike. Furthermore.8 / January . Turkish Realities: Positions in Contemporary Photography from Turkey. Bisi Silva. but also the viability of appropriating such material as a form of political and socio-economic critique. b. which was organized by the Ministry of Culture and The Museum of Modern and Contemporary Art. giving a talk on digital media art at the University of Nigeria. 1 Old News #5 and Old News #6 When artists were invited to participate in the Old News No. from the 16 – 19 September 2009. I lament his passing. razor. foregrounding issues related to religion and identity and expanding on others such as globalisation. 2007. silliness. drawing and painting. Much of my professional experiences here have been influenced profoundly by this sense of intimacy. In partnership with PictureWorksExtra. which means. exhibitions and artists such as George Osodi and Kainebi Osahenye. at Yabatech. his patience. documentary and photo-journalism. managed to disturb the uneasily calm and conservative waters of the Nigerian art scene. Osahenye received degrees from Auchi Polytechnic in 1986 and Yaba College of Technology in 1989.com/2009/12/in-memoriamlamidi-olonade-fakeye. I think something like the New Revolutionaries. the Swedish Contemporary Art Foundation.S organized by Aderemi Adegbite. Lamidi Olonade Fakeye. This was some months before CCA. perhaps especially in light of the recent terrorist attempt and Nigeria’s subsequent blacklisting. and installations. Rosangela Renno (Brazil). Heta Kuchka (Finland).April 2010 3 4 CCA. nature and impacts of global conditions in Africa. Carrie Schneider (USA). struggle to belonging. ma j’ekolo Oun ti won ba nje n’ibe ni k’o ba won je! May his soul rest in peace. Cote d’Ivoire. Daniella Wennberg (Norway). Starting from the 17th November 2009 to 28th February 2010. Giovanni Carmini (Switzerland). and their counterparts Landry Mbassi (Cameroon) and Sabelo Mlangeni (South Africa). Sweden. Further support from El Anatsui’s Afrika Studio. He also designed flyers and invitations and was always there for CCA. diligent. Kelechi Amadi-Obi Studio. Nsukka. Europe and Asia. 2009 by Sylvester Okwunodu Ogbechie. There are no cubicles or departments at CCA. Over the course of thirty days the residency will feature experienced local and international artists. much attention was paid to examining how contemporary forms of expression articulate critical issues that relate to humanity and the environment. However. neoexpressionist paintings towards the incorporation of more conceptual concerns through a format that increasingly borrows from an installation orientated process work that can be read on many levels formal. He studied Software Engineering at the University of Westminster. his concern. the recurring question most of the artists asked was ‘what is artistic in newspaper clippings?’ The artists were encouraged to think discursively about the material and its potential to facilitate self-expression in unexplored manners. 2 Antawan giving a talk at the University of Nigeria. Lamidi Fakeye was blessed and he shared his blessing selflessly with everyone he came into contact with. I had the opportunity to gain a greater aware- Pele Antawan I. gossips and the peculiarity and incompetence of sociopolitical and economic structures in Nigeria. Among the participating artists are Akingbade Adeyinka. network and discover artistic avenues that eloquently describe. I am saddened by his loss. Kemang Wa Lehulere’s (1984) artistic practice investigates a variety of issues. Marja Helander (Finland). possessing the psychological and emotional immediacy of the Romantic genre. performance art. we had more of 2 CCA. Jens Haaning. My experiences living here have acquainted me with the reality that Nigeria is an incredibly intimate place. pleasure and healing as well as making reference to issues of history. (2009). a post bestowed upon me by the US State Department with the mission of fostering cross-cultural understanding through my studies of contemporary art here in Nigeria. Brazil. Even though I was his client. the daily newspaper has featured profiles of local Danish girls. a school and a photo biennale Chobi Mela.’ 2008 Four colour litho. We start this landmark year for Nigeria and the African continent with an ambitious and innovative art photography residency program that presents an opportunity for emerging contemporary African artists to explore critically the ever evolving aesthetic. a solo project by the Copenhagen-based conceptual artist. such as the looming precariousness of identity and race relations in post-apartheid South Africa. critics. Independent Curator. Framed: 57 x 41. Through their works these artists articulate their points of view on a myriad of issues that impact on us individually and collectively. Safaa Erruas. I was selling exhibition catalogues and serving wine to guests at Kainebi Osahenye’s solo exhibition. His meticulous images are carefully conceptualized and implemented to Yinka Shonibare MBE. I don’t know how we became friends but I did find out that he was also a graphic designer and that is how our working relationship and friendship began. 2 Shahidul Alam giving a lecture. The yearlong lecture series. Folarin Shasanya. UK.” Pinar Yolaçan was born in Ankara.8 / January . Director/Curator. to engage with artists. but I am more angry with a country that refuses to provide the necessary healthcare for those who need it. organizing CCA’s upcoming photography residency programme and coordinating our forthcoming participation in the 3rd Johannesburg Art Fair. He went on to outline the humble birth and steady growth of Drik Photo Agency one of the largest independent photo agencies in South East Asia. through post-production. Lagos in another major international project in Sweden. Lucy Azubuike 1972 uses photography and video art to explore the relationships between African traditional culture. The format of the exhibition enabled each participating artist to engage. She also has a postgraduate diploma in Gender Studies from the University of Abuja. In Nigeria. 2 1 The fair will be taking place from March 26 – 28. Helsinki.html). paintings. I was delighted to meet and discover the work of artists like Sean Snyder. Gugulective. South Africa (2009).’ who come from the global south to take ownership and control of images of themselves. Taking identity as the point of departure with a focus on how it is constructed. The works of Safaa Erruas and Kemang Wa-Lehulere connect through similar yet highly individual aesthetic and formal concerns that use the painterly form as the point of departure. in this season of great losses. uncertainty. which was on view from September 9 – October 10. 1985 Sika’s vibrant and brilliantly lush photographs effortlessly oscillate between the realm of commercial photography and fine art photography. While work in Nigeria can be challenging. ‘Climate Shit Drawing 1. Osahenye’s practice fluctuates seamlessly between the metaphysical and the physical.Lagos was invited to the 2nd annual JoburgArtFair in South Africa. The exhibition was accompanied by a fully illustrated catalogue. He lives and works in South Africa. whose work explores issues that relate to the environment. providing through the Old News No. I was quite eager to experience what it is that makes Stockholm’s contemporary art scene so unique and appealing. Her beautiful.Lagos was also invited to participate in the First International Festival of Contemporary Art in Algeria. One only has to look at the first design of the newsletter and the final one he did for us. In 2010 the focus will be on Art Photography. the Finnish Fund for Art Exchange. Osaheyne lives and works in Lagos and Auchi. Sometimes it seemed he worried more about CCA. Nsukka. and astonished everyone by the supreme skill of the artist. the paper underlined the revolution of contemporary art in Africa. coordinating an exhibition catalogue. This is all in addition to beginning a book project of artists’ interviews and writings on the rising temperature of Nigeria’s art climate.International Art Photography Residency Programme 26th–28th March 2010 Sandton International Convention Hall. Also available to the public were previous issues of the Old News project: #1. Osahenye’s exhibition was composed of six large-scale works. And he rose to the challenge. workshops and events that engage audiences both locally and internationally. among other things. The artist’s recent work signals a departure from his well-known.G. and when I fall it is not simply my business but also It is with a deep sense of sadness and loss that I read the news of the passing away of Charles Onwordi. whilst Saidou Dicko‘s World Mosaic (2005-2009) is an utopian call for world unity consisting of 600 3in x 4in images. Lagos in June 2008 as Project Co-ordinator. Through the internet I joined some online sound forums like the World Listening project and the Locus Sonus where I got acquainted with sound artists like Eric Leonardson and Jerome Joy. It is reprinted here with the permission of its author. illustrator and installation artist. The visit was designed to include visits to institutions and artists with a particular interest in contemporary Africa. The presentations range from the slick large-scale fine art photographs of international artists including Zineb Sedira’s Shipwreck (2008) an pictorial elegy to a cemetery of ships in the desert city of Nouadhibou. This motivated me to experiment more in this field and explore ways of combining it with my sound works. Armel Louzala Broken Houses. with a very close friend and collaborator.a gallery that has consistently supported art from outside the West. Communicating with taxi drivers (many of whom were native Bambara speakers and had even a limited knowledge of French) was also a challenge. 1 BS: Have you had an opportunity to exhibit your Lagos soundscapes? If so what has been the response of the local art community? EO: I exhibited the Lagos soundscapes for the first time at the African Artists’ Foundation in February 2009. There was no platform in Nigeria back then to exhibit or discuss these and other ‘new media’ artworks. Back then I was creating digital illustrations and motion graphics. the group embarked by road across the borders of Nigeria. My passion for and my understanding of contemporary art was born during the time I spent there. With 9 Nigerian photographers and writers1. The programme was curated by Koyo Kouoh (Dakar) and Didier Schaub (Doual’art) and myself.Lagos / Newsletter issue No. they were screened in conjunction to a presentation by Vincent Meessen. for example. a cultural centre in the process of being built in the city. skills and experience gained at CCA. Bisi Silva: You studied Graphic design? When and how did you venture into the visual arts? Emeka Ogboh: Being a graphic designer has always been interesting but I was left with this void. Can you talk about it? What led you to develop the work? EO: In February 2008 I attended the media class at the Fayoum international winter academy in Egypt.Lagos organizing and facilitating the third video art workshop. In October 2009. I started experimenting with sound.lagossoundscape. Nsukka in 2001. but is being delayed by the lack of funding. which took up the theme of “Borders” as its focal point. The 8th Encounters is a welcome first attempt by the curatorial duo through the diversity of the exhibitions. culture and learning. Simon Njami (France/Cameroon). The project involves recording and collecting sounds that make up the different aspects that characterise the city of Lagos and I incorporate these field recordings into my sound installations and sound art pieces. African Photography Biennale Bisi Silva As part of the 8th Encounters of Bamako. The conference highlighted several working methods. 3 F. Ogboh’s work was recently featured in the One Minutes Train video exhibition at the 2009 Venice Biennale as well as Identity:An Imagined State at CCA. not accepting it the way it is in Europe. Ultimately it was a great experience being back in Bamako. This connection has helped me deal with this isolation and I’ve had the opportunity to collaborate with some of these artists.com. It had about twenty international and Egyptian artists attending. African Photography Biennale.Lagos.Lagos Petra Szilagyi Petra Szilagyi is currently majoring in studio art and will complete her BA degree in June 2010 at Williams College in Massachusetts. it was hosted by the Netherlands Media Art Institute. Didier Schaub (Cameroon). Over the course of the two-day conference a panel of renowned curators. and engaging in the most poignant contemporary art discussions. I’m working towards setting up a live microphone feed in various parts of Lagos and streaming the emergent sounds of the city live online 24/7. recording and listening to the mega city’s acoustic ecology and trying to understand its composition. The unique experiences I had while at CCA. Mandera. Abdia Abdi Khalil with her son Hameed. She often acts as the subject in her own films which are concerned with performed identity and the influence of environment and institutions on the construction of self. Portugal as a Place for Africa. CCA. especially those in societies in transition as his point of departure. Nike Ojeikere. Uche Okpa-Iroha.April 2010 5 .Cont and similar organisations on the continent were also discussed. 2 4 CCA. The Bla Bla Bar in Bamako. (7th Nov. I have always been interested in the BS: One of your first major works is the soundscapes of Lagos. Ray Daniels Okeugo. London to pursue the MA in Curating of Contemporary Art (Inspire). Vitshois Mwilambwe Bondo. The idea of what or who is an African was debated heavily. a trendy hangout spot. where my series. Goddy Leye. homogeneity and heterogeneity. providing me with both the practical and theoretical knowledge that will undoubtedly prepare me as a curator of contemporary art. A more apt way to put it would be that the Nigerian art scene in the early 2000s had no accommodation for the sort of work I was invested in.Lagos gave me an opportunity to gain direct involvement in this kind of dialogue. African Cultures. Unoma Giese. The process of getting to Mali was quite complicated – getting my flights sorted out as well as connecting from Lagos to Abidjan to Ouagadougou and finally to Bamako. Lost in Transit. A significant aspect of this project involves observing the effects of the ongoing infrastructural developments on the Lagos soundscape. it’s a vast theme! But I’m considering exploring the dynamics of public spaces and I’m 100% open to collaborative ideas and projects. and has concentrated on the medium ever since. placing me in an enviable position as an aspiring curator in the UK. Salifou Lindou. and attend regular study blocks at the RCA in London. to interact with other artists from different parts of the world. Lucy Azubuike. Lagos and the Coningsby Gallery. personal and collective alienation and trauma feature overwhelmingly. Ogboh participated in the video art workshops Linha Imaginaria. The British photographer Martin Parr gave quite an interesting presentation. the quiet Malian city is fast becoming what many people consider to be a strong contender as the image capital of Africa. Emeka Ogboh (1977) He lives and works in Lagos. I’m also working on the idea of making an unscripted short film on Lagos…sort of like a Lagos video blog. I really admire their works and their commitment to sound projects. Ghana. My first sound installation was actuallya collaboration with painter Bob Aiwerioba. learn and network with these artists. exposition panafricaine© Saïdou Dicko. now defunct.a very positive precedent for contemporary art in Nigeria.8 / January . Taking cities. The failings of ‘Borders’ is counterbalanced by the tightly curated monographic and small thematic group exhibitions in various venues across the city. I participated in the 2005 edition. it is safe to say that this is a country where video art is a medium used by many artists and that there was a large platform for it to be seen. Theo Eshetu. she was brought up in an atmosphere of self monitoring and performativity. Currently. 1 Petra Szilagyi. Emeka Ogboh and others.Professional Development (2) On Amsterdam and Lisbon Oyinda Fakeye Each year the Stedelijk Museum Bureau Amsterdam organises an annual curators’ meeting.Lagos and some of our recent projects. The group’s contribution Invisible Borders presented as a slide and audio show aptly embodies the biennale’s thematic premise.Lagos / Newsletter issue No. namely the choice to perform and record the self as ‘oneself’ or as someone else.and I am certain that it will lead me back at CCA.Lagos. This was a place to spend hours delving into new worlds.artistswithattitude. few artists consider digital or mobile technology a valid tool for artistic experimentation. Curated by Cameroonian Simon Njami for the last four editions. Reflecting on the works seen during my stay in Amsterdam. and Selby Gildemacher and Heerko van der kooij. from the moment I stepped into CCA. Prior to my trip to Amsterdam I was asked to submit work from video artists engaging in issues around globalisation and its relation to contemporary Africa.makes the ambitions of West African integration by supra-regional body ECOWAS almost delusional. By fusing art and technology in his new media interventions.beyond. The selections resulted in the screening entitled ‘Africa Reflected on Video’. The extent of superfluous barriers encountered -official. On my return to Lagos. I was overwhelmed to find such a rich resource for art. projects and public programmes s on offer. given the language differences but also the fact that many didn’t even seem to know how to get us to the hotels and other event venues of the biennial. The shows were titled ‘This is Lagos’ and my work consisted of speakers and earphone installations. I have always created works of art but was never confident enough to show it. It has proved a valuable network and I have had the opportunity of collaborating on some projects with some of the artists. Attending the workshop not only boosted my confidence but connected me to an area of art where my heart lies: New media art. I began my career from outside the so-called ‘mainstream’ with a different perspective. AMALA was also a unique experience. Modernity and Contemporaneity.K Bruce Vanderpuije from his Deo Gratias studio set up in the 20s in Accra presents a fascinating portrayal of Ghanaian aristocracy at ease with their modernity providing an appropriate. an Egyptian multi-media artist. From whence cometh my interest. winning the Grand Prix Seydou Keita – the biennial’s main prize. This year’s biennale attempts to cross its own curatorial and organisational border. Africa. The excellent archival photography of J. was exhibited in a multimedia format. potential for art to motivate and engender positive change. which is an ongoing multimedia (sound. I have to admit it was pretty tough trying to sell the idea of sound as an art form to the local audience in Nigeria.(2008) Lebohang Mashiloane Somali Refugees. Armed with the knowledge.SHEIKH. at the African Artists Foundation.(2001) Mohamed Camara’s Malians in Paris. an art organization in Margate. Le voleur d’ombres. (2008). but in the music industry. installation and photography. This thread of threatening cultural taboos is continued in the portraits of Albinos by Seydou Camara in Bibianae (2009). in terms of how they practice and what we share. US. after the workshop. Cameroon. BS: In 2009 you took your work a step further by taking part in the video workshops at CCA. 2008. Being back in this year. which means you must feel artistically/professional isolated? EO: I have to admit I do get this loner feeling now and then. was on sound and video. theories and ideas for what Africa. Francophone country of Mali.” She chose to work in Lagos at the CCA in order to take advantage of the city’s cultural heritage and its international reputation as a mega city. the documentary genre. Kobena Mercer presented a critical overview of key issues arising from the reception of international exhibitions of African art over the last decade.com). for example Jude Anogwih. was another ‘border’ I faced. Culturally speaking. I’m currently shooting and building up my video archives.(2009) an architectural articulation of space and time about the place Algerian youths go to dream about a better life across the water. ‘Borders’. By convention I mean conventional art practices of painting and sculpture. whilst the public lecture by Simon Njami. 2009. since my works were dictated by the advertising industry. This often results in long conversations about the challenges artists from Africa face in terms of how the general public responds to our art. and the Doualart video art workshop. Artist Focus: Emeka Ogboh Emeka Ogboh joins an increasing number of visual artists in Nigeria confidently exploring and employing the use of technology in their work. but also to reflect on what we’re doing in our practice – with exhibition openings. not to mention the diverse range of artists. How has that impacted on your work and its future direction? EO: Attending the 2009 CCA Video Workshops was one of the best things that happened to my art career. This was supplemented by a host of public programmes. SMBA had been focusing on representations of Africa within the sphere of contemporary art. It was an overwhelming experience for me engaging with artists working both in Africa and the Diaspora. migration.Lagos. In January 2010. Somali refugee camp. As a participant I was asked to give a short presentation about CCA. I took time out to go to Vienna for a studio visit. 2009. The biennial offered an opportunity to relax. Eustaquio Neves and the One Minute Foundation team. which included a seminar. Ogboh focuses/highlights them as a construct whose fabric is defined by its acoustic character. she will be undergoing an internship at the CCA. The issues discussed were: Cultural Centres as a Place for Debates. and Baudouin Mouanda’s The Aftermath of the 1997 War.7th Dec 2009) photographer Emeka Okereke initiated the Lagos-Bamako project. which brings international curators together with cultural producers active in Amsterdam. Documentary style photography dominates the pan-African exhibition in which issues of displacement. Two Re-Views At Home in Bamako Abraham Oghobase 8th Encounters of Bamako. opens up a multitude of discursive possibilities including cultural narcissism. (2007) shown at the French Cultural Centre and the Nalik Nejmi’s Twins Series (2009) documenting a home in Madagascar for twin babies abandoned from birth which captures the melancholy of innocent victims of cultural superstitions. “I’m interested in understanding how local artists interact within their socio-political environment. However. Lucy Azubuike. as a photographer. The newly appointed artistic directors Michket Krifa and Laura Serani are charged with leading the biennale towards a ‘bold’ new future. Uche James Iroha. A Congolese Chronicle (2008) portrays the way in which African Dandies use fashion to express another way of being. I had set up a website www. Abraham Oghobase is a Lagos-based artist. uniformity.wherein he mentioned his impressions of the works that were exhibited at the biennial and his preference for those artists that were pushing boundaries and experimenting with their forms of expression and presentation. Originally from Los Angeles. with five Nigerian artists showing in the festival. and Sound Design by David Sonnenschein. as were issues concerning what or whose stories should be told within the centre. Petra will focus on her own art practice by exploring the city of Lagos and collaborating with local artists like Jelili Atiku. Nigeria is possibly the most well represented as three out of the thirteen students (myself included) are of Nigerian heritage. I figured that as Africans we need to tell our stories but we lack the ability to tell them in more conceptual ways . He also participated in the group exhibition. Instead of looking from Europe outwards with a myopic vision. I look forward to seeing how my work and that of my peers evolves as a result of the 8th Encounters and the week-long personal ‘encounters’ we had on many different levels. Portugal to take part in a two-day conference designed to develop and discuss possible programming objectives for Africa. Prada and Marc Jacobs and thework of emerging photographer Baudouin Mouanda whose ongoing series Sape. Of note is the venerable Malick Sidibe’s New York fashion photography commission (2009) featuring local Malians modelling in his studio clothes designed by leading western designers such as Christian Lacroix. The Internet has connected me with some international new media artists who work with sound. I do frequently get in touch with Nigerian professionals who work with sound. The monographic exhibitions at the Musee de Bamako include Fazal Sheikh’s award winning series A Sense of Common Ground (1992) that documents the Sudanese refugee camp in Kenya is a tour de force of humanity and inhumanity that left many viewers emotionally affected and even distraught. Jean-Loup Pivin– designed building. web and digital maps) project that explores acoustically Lagos as a mega city. The few conceptual engagements with the theme and the medium include Alistair Whitton’s Patmos and the War at sea (2009) presented as a series of diptychs using Braille and images to make us question ways of seeing. He has participated in exhibitions and media workshops both in Nigeria and internationally. which was facilitated by the Viennese new media artist Harald Scherz. 1 Ipod_earphone 2 installation layout 4 3 This_is_Lagos 4 Lagos4planes 3 1 Museum’s Mayan-inspired. 2005-09.A in Graphic Arts from the University of Nigeria. Nontobeko Ntombela (South Africa) to participate in this programme. She says. Douala. for example. The architectonic of Lagos as a mega city. Kader Attia’s Square Rock.April 2010 CCA. It was a major eye opener as I spent three weeks with a community of different artists. I have come to realize that not much has changed in West African. but I’ve never felt completely isolated because I’m still able to discuss my work with a couple of Nigerian artists who are thinking in the direction of new media. Emeka Ogboh received his B.‘Times of Confusion’ reflected on the idea of the ‘African artist’. while travelers from France or coming from Europe have that privilege – a reflection of borders within my continent. He painted from the field recordings I made. December saw me heading to Lisbon. Benin. in the hope that it will t affect policy makers and also add economic value. nonetheless they seem to accept it as something fresh and innovative in the local art scene. discussing our works and art practices which ranged from video. It afforded me the opportunity to interact. Kenya. Culture and Diplomatic Policies. mainly to present works of other artists who shared a similar position and who were working against the grain of the convention in Nigeria at that point. harmony. Marcel Odenbach.cont is conceived as a platform for the development of relationships encompassing communication. chaos. which leaves us in a very precarious position. it was very exciting for us to see a friend and fellow photographer. has been influential in leading me to the further study of contemporary art. Photo by Padma Ugbabe. as an Anglophone participant. This prestigious course has produced an impressive roster of internationally established curators. to emerging artist Mohamed Bourouissa’s Periphery (2006) of staged images of power dynamics and tension among youths in Parisian suburbs. Whilst these are worthy stories the pervading similitudes in style and content becomes somewhat monotonous. 1993©Fazal Sheikh. This visit ended with the media monster sound project which is currently in the works. Whilst the ‘old’ medium of photography has a long tradition in the country. Last October. I had the opportunity to work with professionals in the field of video art like Miguel Petchkovsky.Lagos I took advantage of the opportunity to take my interest in curatorial practice to the next level with a scholarship at the Royal College of Art. These narratives include Jodi Bieber’s Going home. I connect with them for sound production tips and collaborative ideas. 2 BS: I don’t know other artists working in sound in Lagos or even the rest of Nigeria. where I spent time with my mentor Harald Scherz at the Nucleo studio.Lagos I felt inspired by the scope of the library collection. CCA. As much as we tried. 1 Visual Art Internship at CCA. he provides a critical insight on the pulse of a city temporally and spatially. Both artists works are seamlessly integrated within the magnificient permanent display of the textile section at the National Museum. Burkina Faso and into Mali.Lagos in the near future to share that learning. 3 I felt like I was home with this years 8th edition of the Bamako Encounters African Photography Biennial. The focus of this class. There was however a sense of caution in that. I remember a particularly stimulating conversation with Cameroonian artist Bili Bidjocka . workshops and portfolio reviews being held across the city in venues such as the Musee du District and the Palais de la Culture. African countries and their Diasporas. 2009. Emeka Okereke. the One Minutes Foundation video workshop. There’s always a constant struggle for artists trying to create opportunities and awareness for Africans to see. I didn’t feel fulfilled as an artist. The Africa Reflected research project was initiated by Jelle Bouwhuis and Kerstin Winking of SMBA. This biennial is a platform to get responses to one’s work and also to meet with curators and most importantly to share experiences with fellow colleagues. On my return to London I completed an internship at October Gallery.DICKO (Burkina Faso). I was invited alongside Koyo Kouoh (Senegal). Lagos Loren Hansi Momodu When I first came to the Centre for Contemporary Art. cooperation and interaction between Europe. She is also a painter. a lecture and a video screening.cont.who lives between Paris and Brussels . Other works that rupture the sense of uniformity include Zanele Muholi’s Ms D’Vine (2007) and Andrew Esiebo’s video Living Queer in Africa. Uche Okpa Iroha. But hopefully we’ll pull it off soon. which will inevitably go some way to raise the awareness and appreciation of visual art not only from within the country but also from across the continent. CCA. Being so close to the film industry and a city of aspiring actors.Lagos.” Szilagyi began exploring video art three years ago as a second-year undergraduate at Williams. Viennese artist Harald Scherz and the Macedonian artists Dimitar Dödövşki and Aleksandar Grozdanovski were part of my ‘This is Lagos’ Exhibition. I put forward the need for dialogue between the two. creators and cultural producers I met. being the first organisation of its kind in Portugal – the expectations might be too high. The two-year post graduate course requires me to work as a Curatorial Assistant at the Turner Contemporary. There was a strong Nigerian presence in Bamako. roundtables. alternative representation of Africans in the first half of the 20th century images to the habitual exotic images or ones of a continent in states of perennial crisis. Chriss Aghana Nwobu. On Sonic Art by Trevor Wishart. destabilization. buy and understand our work. lacking in confidence is not exactly the word. sharing ideas and hashing out concepts. It’s sad that there are no direct flights between Nigeria and Mali. This experimentation led to the Lagos soundscapes project (www. I started off with AudioVision by Michel Chion. which took us through his evolution as a photographer by reflecting on the unique ways in which he approaches his subject matter. BS: What was the experience of attending AMALA? EO: The 2007 AMALA was the inaugural workshop of media art organized by Magdy Moussa. save for the few opportunities featuring a bi-lingual translator to bridge the gap. sound. artists and cultural theorists debated and discussed issues that would be pertinent to developing the new institution. Guy Wouete. BS: Apart from the soundscapes what are the other themes you are exploring or will be exploring in your work? EO: For now I’m still on the soundscapes. Given my background in Literature and Cultural Studies. This plan has been in motion for a while. ended up being exhibited with the OneMinutes train at the Venice Biennale 2009. persecution. On the Wire (2009) as well as Raison Naidoo’s video The £5 pickled money order receipt (2009) which provides one of the few insights into the historical underpinning of migration of indentured Indians to South Africa. linguistic and cultural . Togo. was a biennial favourite that offered opportunities for artists to end each day discussing their experiences over rounds of Castel beer. respite is to be found in personal reflections such as Abraham Oghobase’s Lost in Transit (2008) and Berry Bickle’s video. This article was first published in 234Next on December 7. The language barrier for me. a new experience that enabled me.cont could be and in which direction it could begin to develop its programming. BS: Why did you not feel confident enough to show your early art work? EO: Well. This is Lagos. and then at the Coningsby Gallery London in February and April 2009. Taking ‘Borders’ as their curatorial framework Krifa and Serani open wide the discursive and aesthetic interpretations through the works of 40 photographers and 13 video artists. 2009 London. Ogboh uses ‘new’ media technology in his work as a way of analyzing the structures of cities in developing countries. The method of dialogue between Africa. However. with the aim of finding alternatives to predominantly stereotypical media representations and the research project was been designed to engender critical discussion. which could include hosting exhibitions that were curated in Africa instead of always in the West. she has always been fascinated by video-recording. In October 2007 I applied for and got accepted to take part in the Alexandria Media Arts and Lights workshop (AMALA). I am happy to be part of the first intake for the Inspire scholarship of placement based students. “I’m really excited about engaging with local artists to explore the possibilities of video art. conversations with French-speaking photographers and curators were quite limited. A lot of people are still sceptical about new media art. A curatorial journey started at CCA. Whilst the biennale continues to show a lack of commitment and interest in providing a platform for critical debate crucial to the development of a theoretical discourse on photography it nonetheless opens up different paths leading to a journey of discoveries. cont. economic. Eric Leonardson gave me a list of books to start up with and I’ve invested quite a sum in getting some of these books. My first OneMinutes video. (2008) which highlight the societal taboos that impinge on one’s sexuality identity. 2 S.Lagos 2009. Vincent Meessen.8 / January . In this class. What really is the concept of ECOWAS? The Bamako Encounters opened on November 7th at the Musee National du Mali with the pan-African exhibition. Alain Turpault’s black and white images Albinos. The final selection comprised of the works by Leo Asemota. A semi-public seminar by British cultural theorist. Charles Okereke. 1 The photographers and writer were Amaize Ojeikere. and how such engagement influences their own art-making. I am not sure that my visits to her studio would count properly as “studio visits. but there is also something quite distressing about the work’s dialogue of the death sentiment. aBa mokoli. I think it is imperative for artists (in Africa). Nigeria. floors or children’s playgrounds. Ink and Charcoal on Paper Courtesy the artist. despite this. There were works everywhere. curators and other cultural operators to contribute their thoughts and/or comments on specific aspects of contemporary art that interests them. 4 1 View of Dineo Bopape’s studio. please email: info@ccalagos. C-Prints Edition of 10 + 2Aps Courtesy the artist. Rhode expressed his disapproval and his decision to “boycott” the event. It is among my favorite works of art. I visited artists’ studios often. It is such sentiments that drive my current interests in artworks that are at once really subtle but also overwhelming aggressive. Already it has become commonplace for discussions concerning contemporary art to pivot around the discourse on globalisation and the related potential. than I probably have through any other avenue. If this does not happen artists may find themselves creating. especially their interaction with curators and art historians who might not only open up platforms for their work and historicize their practices but also give much needed feedback that may assist them with unlocking recurring tendencies that may no longer be useful in their work. Sweden 4 Old News #6. Not to mention the fact that I myself once worked out of a studio as a practicing artist. I never saw (or heard) Paterson’s work. they tell the same time. His “Untitled” (Perfect Lovers). Kemang wa Lehulere Considering the rising global interest in contemporary art from African. And yet. but growing generation of collectors on the continent. In actualizing the work. The work’s global and environmental implications are obvious. A good example is the video “Under All Means Necessary” in which Bopape is seen shaking her braided head vigorously from side to side invoking a fervent refusal or dissent. I immediately think of the work of Felix Gonzalez-Torres and his ability to subtly manipulate common objects to highlight their aesthetic appeal and poetic potential. I worked as curator for seven years in South Africa. But the studio method of working only recently caught on in South Africa. We didn’t say much about the work surrounding us.” That is one addiction that we are wont to support! Portfolio@ CCA. When leaving her Harlem studio. This sense of informality differs radically from the established. particularly the way that it disrupts the dialogical expectations of communication by alienating the caller/ participant. Kara Walker and Safaa Erraus. systematic method that defines the practice of studio visits in places like New York City. where dialogue is dependent. Copenhagen.8 / January . the largest glacier in Europe. champagne. Malmö. literally. 077 58 225698. The glacier was only able to ‘talk’ to one caller at a time. The 5th edition of the Berlin Biennale had just opened with not a single artist from Africa. of different time zones. includes the proliferation of international biennials and art fairs. tick together. What follows are some thoughts on these forms of dialogue. in fact the essence of his practice as a whole employs the barest means (a piece of chalk) to create make-believe documented performances on public surfaces. of a global contemporary art world. so much that I have learned more about her work whilst eating her curries and her famous rotis. Having said all that. and takes up as much time and requires just as much effort. with many artists still having no option but to work out of their homes. Andrea Bellini of Artissima and P. Making work is only one aspect of an art career. Gabi Ngcobo is a South African curator of contemporary art currently based in New York. 94cm x 150cm. writers.org 1 Prior to arriving in New York. 2 5 Lucy Azubuike. “collecting contemporary art is the new cocaine. at the corner of 125th street and Broadway.orldnewsnews. 2009 24cm x 33cm. My way into this work was personal first and then political. viewers were connected to a rapidly melting glacier known as Vatnajokull. Though. This pilot edition presents the work of four artists with a steady but growing visibility not only within their countries but also internationally. or visit oldnewsnews. Before and After (Diptych) 60cm x 160cm (overall). there was the studio. how does one ‘tick’ the same in two separate spaces? I often wonder if Torres. the radical altering of art historical canons and the emergence of new art markets. the artist installed a waterproof microphone into a lagoon so that callers could listen to the decaying glacier – imagine sounds of ice debris splashing into water. Untitled 1 (Series of 5). 1 2 Safaa Erruas 1 For further information about the OLD NEWS Project see Past Programmes on page 3. doing away with the once-prevailing myth that it is. Ink and Acrylic on Paper Courtesy the artist. cigars and snacks. A solo presentation by Jens Haaning. we are good friends. Searle counts this work as her favorite. We hope that this initiative will stimulate the new. I only know it. 2005 a three-screen projection of a poetically rendered reflection of a fractured narrative is my favorites of Searle’s work. which is also in Harlem. on the wall. than the dinner party offers the most elaborate studio visit imaginable. or reality. and she at Columbia.org Old News #6 The selected articles in Old News #6 have been displayed and distributed as free newspapers the last few months at Den Frie Udstillingsbygning. Whenever I think about the dialogical impulses at work in the structures of artworks.April 2010 CCA. South Africa several years ago and we both came to New York to study at the same time – I at Bard’s Center for Curatorial Studies. we are witnessing something of a global cultural revolution.8 / January . Centre for Contemporary Jacob Fabricius Old News #6 shows the choices and voices of 31 Lagos related artists and 31 Malmö related artists. Another memorable studio visit took place with Robin Rhode in Berlin. Copenhagen. 6 CCA. I find this quite entertaining to watch. Cut Paper and Metallic Thread Courtesy the artist. Art. C-Prints Edition of 10 + 2Aps Courtesy the artist. Her videos installations often incorporate found materials and actions that resemble a clatter/clutter. in mind is work by artists like Doug Wheeler. so I try to frequent her studio as often as possible. on a coterie of factors such as time. this is considering that much of his performance-based work is based outdoors. Rhode played hip-hop music and we helped ourselves to the provisions while talking about the joys and frustrations of the art world and the market. 3 Old News #6 at the Malmö Konsthall. Denmark. I was quite surprised to learn that Rhode made work in a studio. given our friendship. These included the black and white shoes molded from chalk and charcoal to be worn by a dancer or Rhode himself in order to make calculated marks on floors or exhibited to resemble piano keys. Rhode’s earlier work. wine. 61cm x 86cm. and remaining. but I always considered the ways in which the work is in dialogue with itself. 2009. where talk of the marginal or peripheral now seems trite. Dineo Bopape is afraid of rats and yet in New York City there is no shortage of them. The artist Berni Searle has perfected the art of the dinner party/studio visit. It is not uncommon for artists to work out in the streets either. artists and other art professionals. Malmö. it was a typical studio if there is such a thing. however. Photo: Gabi Ngcobo 5 Old News #6 at the Centre for Contemporary Art. For further information. some of my most memorable studio visits are precisely those that are of an informal nature. and yet the more I contemplate it. 2 Kemang Wa Lehulere. to some degree. Three years ago. He packed a basket with some goodies. I enjoy immensely the thought of this work. Untitled 2(Series of 5). to go to her apartment. the more suspicious of its beauty I become. Safaa Erruas (Morocco). 4 4 2 Old News #6 at Den Frie Udstillingsbygning. Here is how Old News #6 was in the three exhibition spaces: Old News update www. we are pleased to introduce to a wide audience exciting new works by emerging artists from across the conti- nent.org 3 4 Lucy Azubuike 5 1 Kemang Wa Lehulere. in isolated oblivion. centered in one hemispheric region and represented by cities such as New York or Paris. through her illuminating reflections on the work and the personal/political narratives that inspired it. or has been. getting ones work to be seen and experienced is another. space and language. aMagata ‘Zali pass.Lagos / Newsletter issue No.On the Studio Visit Gabi Ngcobo Old News #5 Jens Haaning Portfolio@CCA. We met in Durban. After a short cab ride. Byrd 3 1 Old News #5. The sameness of Perfect Lovers also resonates with me as an ‘American’ in Nigeria. Lagos. Bopape’s studio is located in a building where several Columbia University MFA students also have studios. requiring some aspects of it to be made indoors. Finally. but the visit still managed to somehow endow me with a highly insightful entry into Rhode’s practice and thought process and the direction his work was taking at the time. which is often late at night. never to be heard of. she rattles her keys as an attempt to scare the rats off.1. Enabling these structures are interesting forms of dialogue – both within the configuration of artworks themselves. 6 Lucy Azubuike. and thus I am indebted to the artist Carrie Schneider for bringing it to my attention during a recent conversation. Nigeria and Malmö Konsthall. Sweden. and also through their presentation – that are indicative of our contemporary condition. Amado Uwa George (Triptych) 60cm x 120cm (overall). There was another curator with us. In South Africa. if the street can be a studio. 3 Safaa Erraus.Lagos is a new initiative developed to encourage and facilitate interest and knowledge in contemporary art from Africa by presenting the work of mainly emerging artists. 4 Safaa Erraus. or at least she did at the time of that one dinner party. Denmark. as the rattling somehow also seems to resonate with her work. critics. We agreed to meet at his home and proceed to the studio from there. Lagos. By calling the number. During this period. 2009.” as I see them more so as informal opportunities to “catch up” on both work and life. This gesture. Fortunately for her hers has a large window that lets in a lot of light (a rare thing in New York city) and overlooks a busy McDonalds restaurant. and mounted sideby-side with their frames touching. walls.April 2010 7 . and taking advantage of our wide network of curators. and how they experience the news during the month of august 2009. At this point Rhode’s work had become more complex. Cut Paper and Metallic Thread Courtesy the artist. 2 3 5 6 Thinking Out Loud 4 In this new section we invite artists. It seems to me that much of this thinking has to do with our recent emphasis on off-centering the art world. I have known Bopape for a while now. on the floor. as a Cuban living in America.Lagos An article in the Wall Street Journal on the 3rd of February declared that. the London-based artist Katie Paterson had an exhibition that provided viewers with the mobile number. 1987-1991 is a pair of store-bought clocks each measuring 14 inches in diameter. About to Forget. 2009 24cm x 33cm. Both clocks. the diversification and reorganization of museum collections. More information can be found in the forthcoming programme section. on table surfaces. we arrived at the building where his studio is located and began our ascent up a seemingly neverending staircase. Some oft-cited indications of this restructuring vis-à-vis the art world. nicely betrays the reality that we live in a world of clocks. Notes on Dialogue in Contemporary Art Antawan I. Indeed. given the context of their location and resources at their disposal to professionalize their practice.S.Lagos / Newsletter issue No. Lucy Azubuike (Nigeria) and Kemang Wa Lehulere (South Africa). considered these notions of the self when conceptualizing the work. One of the most acclaimed British painters of his generation. collate and display our heritage. Pamela Edmonds. 4 Nubuke Foundation 2.Lagos / Newsletter issue No. Cape Town 11 March . Also on view will be two video works. In a sense. Courtesy of Dr Kenneth Montague / The Wedge Collection. Courtesy of Dr Kenneth Montague / The Wedge Collection. “African Culture. by the media as being this place of the “dark continent.ca/agyu Over 3 years ago. This Foundation will collect. and Guy Tillim among many others. authenticity and display. Ofili won the Turner Prize in 1998 and represented Great Britain at the 50th Venice Biennale in 2003.” With regards to hybridity and the animal and the human. Ferreira notes that the conception. On several visits to the city . I tend to tag the most prominent female artist I know in Ghana. my identity and what I have become now and how I might react back in that place. I have questioned Brendan Fernandes: Aubrey Williams: Now and Coming Time October Gallery London. It is obvious there is a lot of art activity going on in Accra and in other major cities of the country. London Chris Ofili’s intensely coloured and intricately ornamented paintings are on show at Tate Britain in a major survey of the artist’s career that brings together over 45 paintings. George Hughes etc. especially for the benefit of future generations. Kudowor.’ They have an ecletic exhibition programme that varies from experimental art by young artists. conducted and transcribed by curator Emelie Chhangur of the Art Gallery of York University. Tate Britain Afro Modern: Journey through the Black Atlantic Tate Liverpool. New York and Dr Kenneth Montague / The Wedge Collection. Walker Art Gallery. Kenneth Montague. Of particular interest are works by artists including El Anatsui. El Anatsui walks through door. as well as pencil drawings and watercolours from the mid 1990s to today. The exhibition presented a diversity of media – photography. which takes as its starting point the Werdmuller Centre in Claremont.com B F myghanastay. Housed in a large. collages. Brendan’s emerging art practice explores his hybrid identity through complex works about communication and performance. They work in collaboration with other spaces to organise exhibitions throughout the year. Founded by the late Prof Joe Nkrumah.Peprah. Courtesy of Alexander Gray Associates. Yet his brilliant career remains unknown to many. and it was the chapter on “hybrid machines: the human and the animal”.17 April 2010 For this exhibition. Kwabena Antwi-Danso. Rikki Wemega-Kwawu. Montague’s vision is evidenced by the work he has collected for many years – an impressive range of photographic portraits by Canadian and international artists taken in varied contexts and styles. mixed media and installation. which makes it just a trope — you can find these masks anywhere. In the absence of public funding they are dipping deep into their pockets and their time to put Ghana on the African and global cultural map. 3 Brendan Fernandes. 2009 in Toronto. Senam Okudzeto. remap and reinvent contemporary black subjectivity in order to detach itself from fixed inscriptions and provide new positions and ways of seeing through the photographic image. I visited Accra at the end of December 09 and didn’t expect to do much art related interaction aside from visiting the much talked about Artists Alliance and the Nubuke Foundation. Also included are a younger generation of Ghanaian artists such as Kofi Adjei. Benjamin Offei-Nyako. premiering some of the world’s most acclaimed photographers such as James VanDerZee. Ablade Glover. A wonderful opportunity for local artists to see. designed by Roelof Uytenbogaardt and completed in 1976. The exhibition takes its inspiration from Paul Gilroy’s influential book The Black Atlantic: Modernity and Double Consciousness 1993. exploring the complex diversity of people of the African diaspora at key historic moments. There was something that really made me think of your art practice. a remarkably versatile artist whose work BF: … white tailed deer … KM: … and the mask obviously comes from Africa — a fusion of different places … … and the mask as well is specifically a men’s Maasai mask but it has become such a typical mask now in the “souvenir” industry. 47 1/4 x 63” (120 x 160 cm). Ablade Glover walked in to take him on a tour of the building. For the full conversation. 3 BF: Africa Now: Contemporary African Art Bonhams. Ato Delaquis. that they were surprised at the political and social nature of CCA. and Michael T Sowah.Lagos / Newsletter issue No.1 Wedge Curatorial Projects Canadian photography collector Dr. At the centre of this unique curatorial project is a specific and assertive impetus towards cultural affirmation – inserting a diasporic African presence in the contemporary Canadian arts landscape through the ambiguously charged relationship between the black body and the photographic lens. Dei Centre’s point of departure is the art belonging to one of Ghana’s largest art collectors Seth Dei. I use a lot of tropes of African culture — I want to preface this reference to Africa culture by putting it into quotation marks. unacknowledged by all but the most insightful of art critics and art historians. I’ve also got some from Kenya — just a very typical mask and so that’s what I use as the basis for this work.8 / January . always changing. promote and help develop contemporary art and. Artists Alliance has been serving as an outlet for artists to show their works. The artists that they discussed fuse human and animal forms in their practice and I immediately thought of your work. the tourism industry wants to perpetuate this because it needs that mystery to entice and create an appeal for its audiences. painting. David Goldblatt. His work will be featured in two major exhibitions.” These images are what I turned to and what became nostalgic for me. New York 24 February– 17 May 2010 combines the political with the poetic. Nubuke states its mission is ‘to capture. Wisdom E.” because I deem it to still be this cultural monolith prescribed. Akwele Suma Glory who. in two different cities. Kenneth Montague 1 Malick Sidibé.Lagos to a group of artists on the 31st of December at the Foundation for Contemporary Art. Brendan.org set up by art and cultural enthusiast and art patron Odile Ogare. Apparently there are several interested potential buyers. Cheri Samba. it is now run by two young and dynamic artists in their early thirties Adwoa Amoah and Ato Annan. What a great surprise! We exchanged greetings for five minutes before Prof.Lagos. Dumile Feni and Bruce Onobrakepeya. New York.com ook your hotel or apartment in Ghana or your business or holiday trip to Ghana. William Kentridge. being picked up by my parents and taken to my piano lessons. and failure. and totalitarianism. Though cutting edge contemporary art is unlikely to be seen at Artists Alliance. City Focus: Accra Bisi Silva Over the years Ghana has earned the reputation for not having much going for it in terms of contemporary art. we offer the best deals and savings on accommodation for your stay. Irene Oppong. They have a strong ‘art in public’ programme as well as a mentorship programme targeting children. Accra. Virgina Ryan (IT). Ablade Glover took me to visit Artists Alliance which was still in the early stages of construction. As we found a corner in the gallery to sit and catch up Prof. I would watch these documentary films about Kenya — this narrative that is given to North America that depicts stereotypical imagery of the exotic and primitive that perpetuate the constructed space that is deemed “Africa. Dealing with subjects as sobering as apartheid. Artists Alliance is on 3 floors and is run more like a commercial gallery/shop than contemporary visual art organisation. of this controversial building provokes many searing questions about modernism and the use of this international language in Africa. Charcoal. lyrical undertones or comedic bits of self-deprecation that render his powerful messages both alluring and ambivalent. He can be seen as a colossus. I think about watching images of going on safari. Dubois Centre. this idea of the tourist. so a Kenyan. in 1926. which is a fake deer used to attract real deer so that they can be killed. New York 10 March 2010 The sale will included the very best of post-war and contemporary art from across the African continent in various media including painting. In terms of visibility the recurring names seem to barely go beyond Koffi Setordji. Visit www. I opt out to catch up with Glory who subsequently invites me to give an informal presentation about CCA. as well know expatriates such as El Anatsui. Don’t touch that dial. which again is a place of hybridity for me as. since leaving Kenya. October Gallery I think that it definitely fits into this concept of hybridity in the way in which I look at myself as being born in Kenya. The strategy of collaborating with expatriate and diasporean artists will go a long way in regenerating the art scene and encouraging a continuous flow of ideas. 2007. until proven otherwise. Glen Turner. I never finished visiting the entire centre as I met another artist there. I always posit the idea of me being all of these — not just one of them. Both exhibitions are accompanied by substantial publications. 2 Dei Centre. it creates a new hybrid creature. documentary and studio portraits to street photography and conceptually staged tableux. I had no inkling of the impressive structure the building was to become until I entered through the front door into the high ceiling sparkling white space which displayed the works of several artists interspersed with some ‘coffin art’. National Museums Liverpool 04 February–03 April 2010 Born. And it does seem as if a new generation is positioning itself with an interest in and the realisation that they have to gain curatorial experience alongside their artistic practice. the possibilities are immense. National Museums Liverpool. beautifully renovated bungalow surrounded by a large garden. particularly through a selection of works from the Museum’s collection. There was also a huge interest in curatorial practice especially the professional development aspect of CCA. The exhibition features the work of established Ghanaians such as Kofi Dawson. Contemporary African Art Since 1980 by Okwui Enwezor and Chika Okeke-Agulu. That. 3 Nubuke Foundation 1. FCA is developing the future skills and knowledge base that should act as a catalyst for a vibrant future. 2 1 Artists Alliance. This exhibition explores five primary themes in Kentridge’s art from the 1980s to the present.Lagos’ exhibition programme and my surprise that few if any Ghanaian artists touched on political issues. drawings and text. from archival. Proposition 1: Mountain. In my work. B ook the best hotels and apartments at reasonable rates. his work is often imbued with dreamy. on top of that deer. leverage our history to encourage interest. Atta Kwami and Ato Delaquis. Tony Gleaton and Seydou Keïta. Guyana. Accra where it also houses a growing reference library.April 2010 3 CCA. The Museum of Modern Art. this is how I consider my identity — it is always ambiguous. When I came to Canada. The exhibit will be the result of an investigative process and inquiry into the building and will comprise a large-scale sculptural work as well as photos. lastly. raised in Canada. The FCA was set up in 2004 and runs from a small office at the W.yorku. MOMA I wanted to begin with a quote from a new book.nubukefoundation. The works are linked by the impetus to represent. Marlene Dumas. Portrait of Kenneth Montague. Liverpool UK 29 January – 25 April 2010 Afro Modern: Journeys through the Black Atlantic explores the impact of different black cultures from around the Atlantic on art from the early twentieth-century to today. Ferreira has conceived a new work. but one who is of Indian heritage. and underscores the inter-relatedness of his mediums and disciplines. The last two curatorial visits over the past five years yielded little. contact: +233 (0) 205 206 968 info@myghanastay. My curiosity to meet more artists in Accra clinched the deal at such short notice and on the last day of what had been an exhausting year. and always in flux. and colored pencil on paper.April 2010 9 . All of the works on display – traditional. is my idea of hybridity. and drawing. Number 1 Beyond Lagos International Upcoming Events 27 January – 16 May 2010 Chris Ofili: Tate Britain. The book had just come out and I found it interesting as a collector to see how the writers organized the work. Samuel Olou (Togo) and Akirash (Nig). 4 8 CCA. her foray into the visual arts though sporadic has created some interesting installation pieces. The event was full of surprises that almost 30 people turned up. bestriding the Atlantic. to historical exhibitions about Ghana to history of textile cloth from Upper Volta which was on view when I visited. “The Tourist” is something that I also often question in my work. Michael Stevenson Gallery The following is an excerpt from a recent interview between Dr Montague and Wedge Collection artist Brendan Fernandes (born in Kenya. Bonhams 1 William Kentridge. in a sense. Toronto’s Wedge Gallery (now known simply as “Wedge”) has presented annual solo exhibitions. I think right away of the work Neo Primitivism II where I’ve taken the mask — the façade of the face — as a cultural object that is supposed to hide identity and then I place it on top of a deer decoy. Ben Enwonwu. These images provide vivid testimony to the existences and ideas of their creators as well as their subjects. 1 Kenneth Montague: William Kentridge: Five Themes The Museum of Modern Art.com For more info. But also in this sense: what do I look toward when I think about Kenya — I don’t think about going to school. in Canada. Instead. South Africa). Romauld Hazoumé. colonialism. The centre is a collaboration between the Dei Foundation and New York University’s Africa House based in Accra. video. they have nonetheless organised some important and noteworthy landmark exhibitions in the past two years. Zwelethu Mthethwa. It features over 140 works by more than 60 artists. I wanted to ask you where you see yourself … are you a part of this movement around hybridity found in contemporary African art? Does your work fit into this? 2 In a sense. which also markets and constructs the idea of how we consider and view “African culture” with regards to it still being seen as exotic or unknown. Of special mention are ‘Pioneers of Contemporary Ghanaian Art’ featuring works loaned principally from local collectors which included rarely seen works by pioneers such as Vincent Kofi. 2007. in Georgetown.8 / January . Since 1997. a reproduction of an “authentic” African object made in white plastic. modern and contemporary are for sale and it would not be inappropriate to say that the building is bursting with art dominated by painting. Georges Lilanga. whose dynamic and innovative imagery capture the beauty and grandeur of African cultural and artistic heritage. London and Walker Art Gallery. Drawing from Stereoscope 1998–99. pastel. Primal Scream V. sell the works and make a living from their art for decades. Tate Liverpool Conversation Pieces Ângela Ferreira Michael Stevenson Gallery. Tei Mensah Huage. Almost like a diffusing of the human face placed on this quasi-animal and it makes a new ambiguous creature where you’re not sure if it’s from the future or from the past. Adwoa Amoah. Coming from a background in jewellery design. record and promote our history and culture for future generations. With internationally renowned American Artist Lyle Ashton Harris as director and with his team of enthusiastic young fellows. and marginalized. October Gallery.personally and professionally – I have not found it easy to get a feel of the pulse of the art scene in Accra the capital city where most of the art activities take place. At that stage. and now living in New York). the Foundation is a perfect refuge for artistic contemplation away from the bustle of the city. 2 Dawit Petros. Jimoh Buraimoh. have joined forces to produce two linked and overlapping solo exhibitions of Williams’ work together with the publication of a new catalogue providing fresh insights into one of the twentieth century’s great. Ablade Glover is an artist and a prudent and successful cultural entrepreneur leaving behind an important infrastructural legacy built over a thirty year period that few of his contemporaries can match. KM: It’s also interesting that the deer is the North American … 1 This large-scale exhibition surveys nearly three decades of work by William Kentridge (b. from Prefix Photo 13. I actually have a collection of them that I’ve bought at garage sales in London Ontario when I was living there. My final stop was at the Nubuke Foundation www. Godfried Donkor and other artists such as Lyle Ashton Harris (US). 1955. This is an excerpt from an interview between Dr Kenneth Montague and Wedge Collection artist Brendan Fernandes that took place on December 29th. As in Nigeria many of these spaces are the initiatives of individuals who are committed and passionate about art and culture. I guess the other thing about hybridity in my work is that these objects have become consumer objects — I think about hybridity in terms of capitalism and consumer culture being something in line with humans who are producing for this sort of market industry. one who now lives between Canada and the US. Aubrey Williams remains one of the great enigmas of twentieth-century painting. Oku Ampand more recently the exhibition ‘At home and Abroad’ featuring the work of expatriate Ghanaian artists such as El Anatsui. with feet firmly planted in two very different worlds. I picked up the book at the Musée du Quai Branly (Paris) on the way back from the 8th Bamako Encounters African Photography Biennial in November 2009. My next visit was to the Dei Centre where I was met by about 3-4 young fellows (interns) who took me the inaugural exhibition ‘Nsoroma’ featuring portraits of late Professor Joseph Nkrumah an internationally renowned conservator and curator. Revealing the unexpected realities of the contemporary world through a shared creativity is what drives Wedge and its director and curator. please visit www. interact and engage with some of these artists and their works. sculpture. Larry Otoo. When you place that mask. Volume 7.myghanastay. 2009.E B. as well as the profound impact of apartheid on the functioning of the modernist aesthetic in South Africa. and even the political chapters of the colonial past. The large size of the 368 page book and its dark cover featuring Yinka Shonibare’s The Sleep of Reason Produces Monsters. In terms of reference then. the object of which is specifically artistic.. Yaba. otherwise the former will not reflect the African image. You walk in. the possibilities kept in trust on behalf of the intellect. G & S) D] Diamond Donor . The prefix ome further explains the identification of a second person. knack. Mild Steel. It was a smallish library by American university standards.Lagos / Newsletter issue No. The craftsman artist on the other hand struggles between reality only with what he possesses of the old technique.8 / January . As one who doesn’t like to be told too much about what I’m looking.org W: www. did what had to be done. tribal art. among comfortable tables and chairs.. This text was first published in 234Next on December 12. 1 The Short Century ed... One chilly evening. post-ethnic and yet very concerned with modernity...000 per day 6] Non-ECOWAS Citizens.ccalagos. art history and critical theory.. • Newsletter subscription.. announce the book as an authority on the subject at hand: contemporary African art. It inspires me to know that. I studied in my room because I couldn’t do so in the college library. Contemporary African Art Since 1980 by Okwui Enwezor and Chika Okeke-Agulu. Photo: Courtesy the Ben Enwonwu Foundation. 2. 1 in Lagos. 2. There’s an odd comfort in knowing they’ll be there. Food For Thought: An African View of Art Ben Enwonwu The following text was initially published in the catalog accompanying the Second World Black Festival of Arts and Culture (FESTAC).. Such definitions of art as the art of running.N5. I have found the library virtually empty. and I almost always went in with no clear plan in mind. Art is defined in the English dictionary as “human skill as opposed to nature. 2009.. Even small libraries. one who has obtained a standard of proficiency in these. In the passing African social context. 4.. Lagos. and other related cultural areas.. Courtesy the Artist.Mi-1.. We need this library.. and there are day memberships as well. skill applied to imitation and the design as in painting etc. ome-nka .” a book of photographs about his uncle. As an artist.” John Huston’s final film. or of image. at this is a blessing. Courtesy the Artist.. Fashion & Identity 1 2 Storehouse of Infinity Teju Cole I received my first degree at a small liberal arts college in the American midwest. or at least some indication of where the artists come from and practice. stratagem... with an added appendix..000 per year (I. Membership Levels Within Lagos (1. 3. The curator of the CCA. members can request books to be ordered for the library – these requests are subject to approval and available funding. Richardson Ovbiebo is a Lagos-based artist who works primarily in sculpture and installation.. . The more seasoned African art aficionados may be wary of the somewhat institutionalizing nature of the text and predictable selection of artists.000 per year 2] Student. Art is subjective and therefore infinite. Reprinted with permission. 1 Outside Lagos 3] Full Membership. watching the clock hands slowly dizzy themselves as I struggled through each day’s assigned readings. digital imagery. but more importantly there are those books that have been discovered before.. but after the text concludes. • Invite to members-day activities..N2. The film ended.. © The Ben Enwonwu Foundation. provides divergent meanings none of which is the same thing as the word nka. Is This a Shoe?. US. black magic. industrial pursuit.D card required) Overseas Supporters (D.. which was identified with other aspects of African life.. There’s the gratitude in discovering volumes like Emeka Okereke’s “Unspoken Hero.thus it is inheritable of family or even village groups such as in the known case of Benin. because art in present-day Africa is seeking a new role.. that if he does not do so. 2009 and subsequently invited the artist to design some sculptural jewelry pieces for her recent exhibition/fashion show in Lagos.Art.... is open to the public. finely-bound volume. The Centre for Contemporary Art (CCA) is on McEwen Street in Sabo.Lagos.. 5 & 6) 1] Full Members. think in which skill may be exercised. The college library contained much more than books... The art works vary in media from sculpture. precisely because of the spartan conditions. we invited the fashion designer Gozi Ochonogor and artist Richardson Ovbiebo to present images from their recent collaboration.. We are looking into the possibility of partnership with one of the premier bookshops in the country to provide an appropriate book ordering service to our members. There she fell in love with Ovbiebo’s Is This A Shoe...Mi-1. low building through which librarians flitted like nuns.. I discovered that the real purpose of the library was to distract me and educate me in matters unconnected to what I was studying in class. and undergraduate student at Williams College..000 per day Preeminent art scholars Okwui Enwezor and Chika OkekeAgulu published Contemporary African Art Since 1980 this September. together with the influences that exert on the critical mind. a series of essays followed by 300 pages of vivid high quality images. But it now appears that the young African painter and sculptor distorts his work deliberately so as to achieve Africaness. from the ethereal to the somber to the abject. African traditional art. and dominated by broad. national book depositories. Lagos 9 McEwen Street.Lagos library is centrally located on the mainland. it was the Daily Times (which was always a month or so out of date by the time the library received it). African thought and the African personality.. my table lit with the single bulb of a goose-necked lamp. typically contain more books and more deeply specialised knowledge than any of us can afford in our own homes.000 per year (I. mostly regarding curatorial and categorical practices. it is no longer treated with the patronizing attitude that was the case when the first missionaries.000 per year 4] Student. was at the beginning of European colonization of the African continent.. 4.. The colors are as shocking and complex as a West African textile. Although they go into some depth regarding the contentious attitudes toward African art throughout the twentieth century. craft. to mean the same sense as for instance. we do have a limited selection of books dedicated to architecture. Perhaps.Lagos’ upcoming focus on Art. but the one that excites me most at the moment is a small one right here in Lagos. and though I take some pleasure in having the place to myself. Nka is an objectification of image more through the senses than through cunning of hand. the object of nka is specific. film or the humanities. Bisi Silva.. Nka may be understood to mean “making”: of which doing..” Art so defined. honey-coloured tables. • Invitations to exhibition openings. I confronted the given tasks. That night. I feel lucky to have known many grand libraries. the making of. set in a cosy air-conditioned room. The text suggests a multiplicity of cultural spaces. The library is located on the 4th floor of 9 McEwen Street. Massachusetts. looking at beautiful images of highly experimental works created by African artists currently working in the field. like the one at the CCA. We are 5mins from the foot of the 3rd Mainland Bridge and 10mins from Ikorodu Road when you turn onto Herbert Macaulay Street.. I think of a good library as being similar to a permanent exhibition. There was something monastic about the college itself.. and more of the white flakes were floating out of the sky.. newspapers. your breathing becomes more regular. 2009. I think it would be much better if more people made use of it. was making a photographic essay about him. It was the year’s first snow.. skillful execution of an object in itself. Gozi Ochonogor is creative director for the fashion-as-art brand U. and the art of what is being made.. on that next visit. I recall. of photography.Lagos Library? CCA. the stresses of the outside world fall away.April 2010 11 . which are astonishing in quality and sheer quantity.. company of craftsmen. and I can only hope that on my next visit I will see many more people in it. G.. a member of the collective Depth of Field. [Damiani. In the dorm room.. It has no African directive.. It is an oasis in the middle of Lagos.. Susan Sontag and Roland Barthes. El Anatsui and Candice Breitz. $20 (£/€ equivalent) Frequently asked questions: Where is CCA. small bios certainly would have been helpful. photography.Lagos / Newsletter issue No.D card required) Casual Daily Rates 5] Nigerian Resident & ECOWAS Citizen. However. N15. i. Occasionally. I was all focus and clarity. which took place in Lagos. primitive art. This collection of books. 470 plates in total. The collaboration came about when Richardson presented his works during Pecha Kucha Night Vol. compelling me to seek out new favourites.. anthropologists. • Meetings with curators. of a particular kind. 2 Jumper and denim pants by U. recently told me that the biggest challenge faced by the library isn’t funding or space or materials. art changes its form with the times. you know you will encounter a certain book. cunning. Equally importantly.. which Ochonogor hosted.. This selection of contemporary African art is bold and transgressive.. his work will be imitative of European art.. 3. Books are in themselves works of art. This small... I can learn more about the African-American sculptor Martin Puryear or see the work of the Malagasy photographer Pierrot Men for the first time.. social. manipulated bodies and expressions of dejection and apathy I am accustomed to seeing when I walk into a gallery in the States. In my view. They are not like Borges’ fictional Library of Babel. Each time I’ve visited. a place or a period? To very briefly summarize their conclusion it is all three.Lagos events. Use the Domino Diner as your point of reference. or went into the little viewing rooms in the basement to watch films I’d never heard of in languages I couldn’t understand.. artists such as Chris Ofili.org Membership Application Form Name Contact Address Phone Email Occupation Nationality Areas of Artistic Interest GSM The role of art in African society is an important one for all who are concerned with the advancement of African culture.. It is a satisfying introduction to those looking for a brief and colorful overview of the world of contemporary African art and it is sure to pique the interest of those who have had limited exposure to the field. Transition. The forty pages of text that preceded the images provided an insight to theoretical haze that surrounds ‘Contemporary African Art’ as a concept..he is the maker of nka. its alleged demise with the introduction of modernism and Centre for Contemporary Art. It was as though the snow had spilled out of the tiny television set in the basement. 3 Jewelry by Richardson Ovbiebo. comes from their being ordered spaces. It was not an objective or an analytical view of art. .Lagos in the introduction! Petra Szilagyi is an intern at CCA. wouldn’t have come to my attention had I never visited the CCA’s library. only by professional competence. become the currency of aesthetic evaluation of works of African art. Both the maker of.” I can read John Berger. there are new books to be discovered.. Fashion and Identity. but stores a kind of infinity on our behalf. The first time that we Africans received the word “art” as applied to creative imagery of out ancestors. gleaming. I read the Paris Review. textiles. Sabo. literally in the case of Shonibare. walled in by plate glass. laser discs.. I can spend hours perusing the pages.... Marlene Dumas. finesse. the professional of nka.e.. Emeka Okereke included photos of the wake and burial in the eventual essay.Lagos publications (not brochures).. T:+234 702 836 7106 E: info@ccalagos.. I became adept at reading subtitles.. jazz or world music.. must resemble that of yesterday.. installation. In anticipation of CCA.. Nka. and this role that must be given to it by the Africans themselves will determine the form that it should take as the mirror of the aspirations of independent African peoples..... The main reading room.. nor does African art only enjoy the reputation of its influence as a result of its historical impact upon modern art. The terms African negro art.Mi-1 Images © U. this is a small investment in something that can increase one’s knowledge ten-fold.N1. more than the school chapel. nka does not mean human skill as opposed to nature. whether they be municipal collections. Nigeria. Kennedy Chukwuemeka Okereke was a 36 year old physician who died around the time his nephew Emeka.N5. video cassettes. a Japan based fashion label. by Okwui Enwezor. It is setting the clock back to expect that the art-form of Africa today. 2009 to much anticipation from those interested in the field. must now be reconsidered in the light of the present Africa view. Sundays and on public holidays.. that was where I did my all-nighters. and all such aesthetic clichés which have Membership Category (1. I can head to Sabo and spend time with Okwui Enwezor’s “The Short Century: Independence and Liberation Movements in Africa 1945-1994. Be sure to look for the shout-out to the CCA. • Receipt of regular information by email and mail. There is some dialogue about common themes in the text. 4 Richardson Ovbiebo. Nigeria in 1977.. and to revisit a library is to deepen a relationship with particular works. but does imply identification with the nature of doing. $100 (£/€ equivalent) G] Golden Giver . On the top floor of the centre is a library. 6 or D. doing. we do not sell or order books on behalf of our members. At a certain point. We are about 5mins from the Alagomeji junction. practical application of any sciences. or take advantage of its facilities. New books are constantly being added to our collection so do frequent the library to discover our recent arrivals. it had covered the grounds. educational. but an invocation of ancestral spirits through giving concrete form or body to them before they can enter into the human world. However. Ghada Amer. All in all it is a beautiful book. economic. and. The library is not open to the public on Mondays. These clichés. 2009]. There were few artists whose practice I had not encountered State-side.. or doing. notes and problem sets. swimming. post-colonial. black magic. I sat at the listening booths and listened to classical.. it can be a place of repose from the relentlessness of the city. In fact..” as it had been during the early days of European exploration of the continent. While the majority of our books are focus on art. Yinka Shonibare...... as Joyce’s story does: with an epiphany experienced by Gabriel Conroy as he looks out of his window into the Dublin street at the snow “falling faintly” and “faintly falling” all over Ireland. It is reprinted here with the permission of its author. again. The real work of surviving those years took place in the dorm. Inside. • Discount on CCA.. and between the images a diverse and complicated array of connections and networks are implied in the arrangement. It should also concern the present generation of Africans whether they are interested in art for art’s sake or not. someone would even have taken my favourite volumes off the shelf.” or with Glendora Books’ “Lagos: A City at Work. artists and other visiting local African and international cultural Practitioners. has traditional and religious associations... and so particularized.. [Prestel. For everyone interested in contemporary art.. or study collections appended to major museums. or as the art of doing anything do not refer to nka. William Kentridge. The text is reprinted here. • Discount or free access to talks and seminars.. The Library The Library Benefits of Membership include: • Priority access to the library..... colonialism and ethnic identity. no emergent African state today can afford to ignore the urgent role of art.. Nigeria. it is strictly art....... with the intention of inspiring critical reflection on the history of art in Africa. certain branches of learning serving as intellectual instruments for more advanced studies as Bachelor... design.. video and photography to painting and illustrations. • Portfolio review subject to appointment with visiting curators. It is small in size.April 2010 10 CCA. 5. nka bears a traditional significance as an art handed down from generation to generation . This situation represents the psychological effects of colonialism. which collaborates with home grown artists. Can we order books from you? No. i. Master of Arts. electronics.. but will no doubt enjoy looking through the pages of works. What is infinite is the satisfaction they promise. those in which the mind and imagination are chiefly concerned. It is one the largest cultural events ever to take place on the African continent with more the 17. I came out of the library just after sunset and discovered that it had begun snowing while I was inside. On each visit.. Book Review: Contemporary African Art Since 1980 Petra Szilagyi 3 4 1 Jacket and denim pants by U. the difficulties Western curators have had conceptualizing African art from its traditional roots to today (Does it go in the African or contemporary art section? Is it craft or art?) They often reach the very post-modern assessment that contemporary African art is nothing and it is everything: post-modern.. and fell in love with Kieslowski and Malle. • Purchase privileges of a publication needed for research (subject to approval).. the African view of his art was a view. Lagos.. there are simply too many artists and creative-minded people in Lagos for the CCA library to be lying fallow. I was delighted by the book. and making. and Granta. At other times. Sometimes. 2001]. or else. I felt myself swept up in an epiphany like Conroy’s. Lagos. was like a continuation of the quietness of the campus. not far from the roundabout where Herbert Macauley’s statue stands. The library.. if I set aside the time.. S) Application Fee Date Signature CCA... the ensuing pages of images are largely left to speak for themselves. should now be regarded as part and parcel of the evangelical. which contains all possible books arranged at random in an incomprehensible infinity. magazines and videos. N2... Like culture. Art is not static.e. We march towards renaissance. is personified. most artists in the book have shown in major contemporary art museums and publications over the past 10 years. Thus the field of so-called African art is really the realm of the ancestral world of images so confined as it were to creativity in a spiritual sense. In fact.. I loved it. easilysearchable books: even the New York Public Library’s twenty million volumes are still considerably fewer than infinity. The book emphasizes the central theme of decolonization in artists’ work as a unifying factor.. • Invitation to CCA. and so does not refer to any other kind of making. guild. The word has its limitations when defined.. fashion.000 participants from more than fifty countries. with its brick cloisters and well-kept lawns. yet the themes incorporate the white gallery walls. and travelers collected old pieces of “objets d’art” and mixed them up with what was genuine. Real libraries contain only a few. the book is divided into two parts. writers and critics..8 / January ... When is the library open? Do you have only art books? We are open from 10am to 6pm Tuesday to Saturday. Nigeria. Already. more moving because it is of such limited scope. waiting like old friends. stratagem.. in one of those little darkened booths in the library basement. was the center of that quietness: a long. and the most recent in a growing field that it continuing to garner attention internationally. For the art of Africa is no longer looked upon as “fetish... namely is it a style. African art is not really art in the Western context. academic journals and all kinds of magazines. The peculiar power of libraries. yet the authors chose not to provide the specifics. contained only half a million volumes.. There were compact discs.. It was a gentle and humane cinematic version of James Joyce’s long story of the same name. the Ibo word nka. $50 (£/€ equivalent) S] Silver Supporter . I watched “The Dead. It is that people don’t visit the library. and this library needs us.....Mi-1.. on a certain shelf. strictly speaking. Annual subscription fees begin at N5000.. . as food for thought..... the nagging archivist in me would like more information about the artists themselves. and would spend hours there every week. Mikkel Bogh [Pork Salad Press. Identity An Imagined State. 2008] 8 Exiles. 2005] 11 Encounters of Bamako 2009 12 Robert Gober: The Meat Wagon 17 Marlene Dumas: Measuring Your Own Grave [Cultures France Éditions. Trevor Schoonmaker. 2003] 15 Between Past and Future: New Photography and Video from China by Wu Hung. Duke University Press.] 13 Anja Franke: Installations by Anja Franke. et al [Yapı Kredi Kültür Sanat Yayıncılık. Cornelia H Butler et al. 2008] 14 Birth of the Cool 1st Art-iculate Talk. The World is Flat launch. visits the library. et al [les Presses du réel. Like A Virgin Installation by Lucy Azubuike. 2004] Like A Virgin. Bisi Silva. Carsten Höller [Moderna Museet. Sokari Douglas-Camp and Oyinda Fakeye at CCA.] 9 Hello. My Name is Jens Haaning by Jens Haaning. 2008] by Barkley L Hendricks. 2005] by Matthew Drutt. by Marlene Dumas. 18 Books 1 Emeka Okereke: Unspoken Hero by Emeka Okereke [Africultures. 2006] 18 Anthology of African and Indian Ocean Photography by Pascal Martin Saint Léon [Paris : Revue noire. Diasporas & Strangers by Kobena Mercer et al [INIVA/MIT Press. We Love! 7 50 Photographers You Should Know by Peter Stepan [Prestel. Tex. Robert Gober. Menil Collection (Houston.Images from the Archives Portfolio review by TT Fons and Kola Fayemi at the 9th Lagos Book and Art Fair. Joan Jonas [Thames and Hudson.8 / January . Nasher Museum of Art at Duke University.) [Menil Foundation. 2007] 12 CCA. Grange School Visit. El Anatsui. 4 Critical Focus: Photography in the International Image Community 5 Perform 16 Meryem Maria by A D Coleman [Nazraeli. Lucy Azubuike’s Tree’s series. Brendan Wattenberg. Didier Schuab gives a lecture at CCA. 2008] by Miriam Bäckström.Lagos booth at the 2nd Joburg Art Fair. Jelili Atiku and Estaquio Neves. Dijon : Les Presses du réel. 2008. Jude Anogwih. Sanne Kofod Olsen. Bisi Silva. Miguel Petchkovsy. 2009] 6 All Images of an Anonymous Person Member of the audience at the Picha exhibition launch. NYC. [Nasher Museum of Art. 2008] 3 Brief History of Curating by Hans-Ulrich Obrist [Zurich : JRP / Ringier .W. 1995] 10 NKA: Journal of Contemporary African Art #24 [NKA Publications 2009] by Pinar Yolaçan. 2 Seven Days in the Art World by Sarah Thornton [W. 2007] Monna Mokena Art-iculate talk. 1999. of the Museum for African Art. et al [Thames & Hudson. 2008] by Jens Hoffmann. Oliver Enwonwu.April 2010 . Like A Virgin Exhibition.Lagos / Newsletter issue No.Lagos. Jude Anogwih and Oyinda Fakeye. Norton. [LACMA. Uchay Chima Joel.