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Save Our Art! Save Our Heritage! The Osun Osogbo Grove Nigeria's UNESCO World Heritage Site

Campaign Launch & Art Exhibition 2015 Save Our Art! Save Our Heritage! The Osun Osogbo Grove Nigeria's UNESCO World Heritage Site

Campaign Launch & Art Exhibition 2015

3 Save Our Art! Save Our Heritage! The Osun Osogbo Grove Nigeria's UNESCO World Heritage Site

Campaign Launch & Art Exhibition 2015

3 Save our Art! Save our Heritage! Campaign Launch & Exhibion Nigeria's UNESCO World Heritage Site The Osun Osogbo Grove

Save our Art! Save our Heritage!, is a campaign to safeguard one of Nigeria's most important artistic treasures.

Nestled in a beautiful forest on the edge of the city of Osogbo are the Osun Groves. The Osun Osogbo Grove boasts an amazing 75 hectare art park brimming with hundreds of monumental sculptures. Recognizing the signiﬁcance of this art, and the heritage it reﬂects, UNESCO declared this location a World Heritage Site in 2005.

The Osun Sacred Grove is one of the most impressive places in the country --- one of only two UNESCO World Heritage Sites in Nigeria -- where tourists and art lovers can visit the monumental sculptures created by the renowned artist, Susanne Wenger, in collaboration with important local Osogbo artists: Adebisi Akanji, Rabiu Abesu, Kasali Akangbe-Ogun and others. These unique sculptures exemplify the artists' commitment to creating art that reﬂects the intrinsic culture and traditions of Nigeria.

Many of the sculptures, created between 1960-1980, are in urgent need of repair and restoration. Restoration and preservation eﬀorts must begin immediately or Nigeria risks losing not only the sculptures themselves, but also the important UNESCO World Heritage Site designation.

Time is of the essence. Only three of the original artists working in cement are still active: Adebisi Akanjii, Adeyemi Oseni, and their leader, Sangodare Ajala. Despite their age, they are eager and uniquely qualiﬁed to do the restoration work and to train the next generation of artists and artisans. With improved materials and techniques, the restored sculptures will last for decades.

The Susanne Wenger Adunni Olorisha Trust (AOT) has completed seven major restorations to date. Based on our solid track record, we project that, within ﬁve years, the artists can restore all the remaining works of art in the UNESCO site and train the next generation of restoration artists.

In order to develop further awareness of this important period of art heritage in Osogbo, the AOT will also restore Susanne Wenger's remarkable Brazilian style house which houses her personal art collection. The house will become a 'living' Learning Centre that will promote Osogbo art, the legacy of Susanne Wenger & Ulli Beier and establish an art residency program.

The Beneﬁts of Supporting this Art and Heritage Restoration and Preservation are many: Ÿ Conservation of art and heritage in Nigeria's UNESCO World Heritage Site; Ÿ Youth training and employment of the next generation of Osogbo artists and artisans; Ÿ Spin oﬀ employment and economic development generated through enhanced tourism; Ÿ Creates the foundation for increased art promotion, education and awareness of this unique art legacy within Nigeria and internationally; Ÿ Protection of the environment in this unique unspoilt forest and of the UNESCO designation.

Without your support, we won't be able to complete the restorations while the original artists are still alive. Join us as we ensure that this historically and culturally important world heritage site is protected and restored.

To contribute to the campaign, or to learn more about us, please visit: www.susannewenger- aot.org.

4 5 Save our Art! Save our Heritage! Campaign Launch & Exhibion Nigeria's UNESCO World Heritage Site The Osun Osogbo Grove

Save our Art! Save our Heritage!, is a campaign to safeguard one of Nigeria's most important artistic treasures.

To contribute to the campaign, or to learn more about us, please visit: www.susannewenger- aot.org.

4 5 The Legacy of Susanne Wenger & the New Sacred Art Movement

“I mediate with my hands while making sculptures. It is an ongoing process of form finding. At first I feel an impetus of love, then this becomes a source of meditation. I have never been able to adopt any other form of meditation. My meditation must start from Mother earth, which is matter and therefore suffering, and then I move from suffering to compassion.”

Susanne Wenger

6 The Legacy of Susanne Wenger & the New Sacred Art Movement

Susanne Wenger

6 Susanne Wenger was already a celebrated Austrian artist when she moved to Nigeria in 1950. But it was Yoruba mythology that inspired her to express her true spiritual and artistic depth.

Susanne was profoundly moved by the serenity of the Osun Osogbo Grove and became the leading advocate to protect it. For over 40 years, she, along with a group of local artists, built phenomenal sculptures and dotted the forest of the Grove with works of art. Through their work together, they became, and remain, a tightly woven family. This new family of artists' work became known as the New Sacred Art Movement. For Susanne, “Art was an expression of the sacred” rather than a commercial undertaking.

Financial support for the building of the sculptures came mostly from the sale of her artwork. From the mid 1980's to 2004, Susanne had many important international exhibitions. Her drawings, paintings, and batiks that she created over her 59 years in Nigeria and her early days in Austria are conserved in a purpose built gallery in Krems, Austria.

But, she left her most important work to Nigeria in the Osun Osogbo Grove. The Adunni Olorisha Trust is dedicated to preserving this remarkable art legacy.

Susanne Wenger 04 July 1915 – 12 January 2009 Graz, Austria- Osogbo, Nigeria

Sometimes we need a stranger to guide us through the chaos that reigns in our own house, Susanne Wenger is this stranger, this outsider—but in the process of guiding us, she also found herself and has not only ceased to become a stranger and an outsider but in turn has become a Yoruba soul and the Yoruba's conscience

The late Chief Adebayo Adeleke, 1983, Patron and lifetime friend of Susanne's

8 Susanne Wenger, Adebisi Akanji & Rabiu Abesu , circa 1970's Susanne Wenger was already a celebrated Austrian artist when she moved to Nigeria in 1950. But it was Yoruba mythology that inspired her to express her true spiritual and artistic depth.

But, she left her most important work to Nigeria in the Osun Osogbo Grove. The Adunni Olorisha Trust is dedicated to preserving this remarkable art legacy.

Susanne Wenger 04 July 1915 – 12 January 2009 Graz, Austria- Osogbo, Nigeria

The late Chief Adebayo Adeleke, 1983, Patron and lifetime friend of Susanne's

8 Susanne Wenger, Adebisi Akanji & Rabiu Abesu , circa 1970's The Susanne Wenger House: a living history

This house, where Susanne Wenger lived from 1958 until her death in 2009, is a beautiful example of the Brazilian style building that was an important page in Nigeria's architectural history. The residence contains over 400 works of art. Most pieces are from artists of the New Sacred Art Movement. Today, Susanne's Wenger's two adopted children, artist Sangodare Ajala and Adedoyin Talabi Faniyi, live in the house. As in Susanne's time, the public areas of the house are open to visitors. Superimposed onto the large Brazilian house are the artistic structures of Adebisi Akanjii, one of the founding members of the New Sacred Art Movement. Created from cement, the low walls that lead to the entrance of the residence, and surround its small garden are complex, two-dimensional structures made of the interlaced characters from many of the traditional festivals. Scattered throughout the garden and the main veranda are large stone sculptures by the late Buraimoh Gbadamosi

10 11 The Susanne Wenger House: a living history

10 11 Restoration of the Second Palace

Built in 1975, the Second Palace is Susanne Wenger's most sensitive and complex architectural creation.

This remarkable structure is composed of three enormous roofs which rise against the sky like giant lizards, representing the forces of the earth before mankind.

The exterior walls are elaborately sculpted with “rapturously emotional scenes” to use Susanne's words, depicting interactions with Yoruba mythology. The interior of the Second Palace is richly decorated with wall- paintings, a symbolic visual art form unique to the Yoruba. 23 people worked on this restoration led by Adebisi Akanji, Susanne's artistic collaborator on all her major monuments and Sangodare Ajala. Very sadly, during the 7 month restoration, Saka, one of the ﬁrst artists to be mentored by Susanne, passed away.

“Like the rest of Susanne's architecture, this building fully stands up to her own ultimate test: it forms part of the forest, it grows like a spectacular tree, and in spite of its unusual shape this building does not impose itself on its surroundings. Rather it is like a concentration, a heightening of the atmosphere around it.”

(Ulli Beier, 1975)

12 13 Restoration of the Second Palace

Built in 1975, the Second Palace is Susanne Wenger's most sensitive and complex architectural creation.

This remarkable structure is composed of three enormous roofs which rise against the sky like giant lizards, representing the forces of the earth before mankind.

(Ulli Beier, 1975)

12 13 Interior of the Second Palace, before and after the restoration.

14 15 Interior of the Second Palace, before and after the restoration.

14 15 Restoration of the Market Place

Passing through the forest, one comes across a sudden “amphitheatre”, a large ﬂat rock surface populated by larger than life cement sculptures! This fanciful grouping is “Oja Ontontoo” or “the Marketplace”, the symbolic coming together of men and of spirits.

There are drummers, hunters, an elephant rider, a large mother stretched out on the ground with her small child, snakes and tortoises-all representing the spirits that Susanne's vision was to create an intimate amphitheatre where come from the forest, out of dance and drumming performances would be held and both the earth and from the trees. traditionalists and the community would mix. The sculptures are designed to be used as chairs and resting places. These extraordinary sculptures are by Saka, one of Susanne's Most of the more than 45 sculptures needed complete rebuilding. earliest protégés. In the word Sadly, Saka died only months before the start of the project. Artists of Ulli Beier: “The ﬁgures are Adebisi Akanji, Nurudeen Akanji, Adeyemi Oseni, and Sangodare large, round, heavy, and are Ajala, recreated this magniﬁcent site. more reminiscent of Henry Saka, the arst who originally created these sculptures in the 1970's Moore than of traditional sits on one of his sculptures prior to the restoraon. Very sadly, Saka Yoruba carving”. died just a few months before the Trust was able to raise the money and begin the restoraon. 16 17 Restoration of the Market Place

Iya Moopo is the “Great Mother” in Yoruba mythology. She protects women in all that they must do from bearing children to their professions or trades. Iya Moopo was a potter. Her delicate form and outlines of the sculpture express the Goddess's mystical purity. Inside her body is a narrow spiral staircase in the shape of the sacred snail that leads to an inner sanctum. This magnificent sculpture was created by Susanne Wenger and Adebisi Akanji. It is over 10 The first sign of damage to this exceptional sculpture was the meters high and 25 meters long. collapse of the sculpture's 15-meter long legs. As the restoration It lies in the area of the Groves proceeded, it became clear that water damage had weakened known as “The Sacred Pottery the entire structure and almost every element required Field”. It is one of only three rebuilding. Thanks to the artistry of Adebisi Akanji and the New monuments in the field, 3 being a Sacred Art team this exceptional work of art has been saved. sacred number in the Yoruba tradition. Adebisi and his son, Nurudeen, working together on the restoration of Iya Moopo. 20 21 Restoration of Iya Moopo

Iya Moopo reclines on a beautiful mosaic made from stones from the Osun riverbed.

Twin birds sit on Iya Moopo, one on her breast and the other hangs upside down on her back between her massive outstretched wings. The The folds of the her traditional cloth “wrapper” are represented by delicate swirls of sculpted cement. birds symbolize children “in balance” and her wings allow her to reach She extends three pairs of slender outstretched arms: some say that her the divine. six arms represent her ability, like all women, to do many things at once.

22 23 “I give Adebisi the story, the associations he needs. With my hands he expresses the forms. I never draw a plan. Adebisi then portrays my gestures with the walls and pillars he raises in red mud and cement. I let him work for some hours by himself. Often his work expresses exactly what I have in mind. Sometime I tell him we must start again. This never upsets him. He is always ready to listen again. He always comes back with new enthusiasm" Susanne Wenger

Iya Moopo reclines on a beautiful mosaic made from stones from the Osun riverbed.

22 23 24 25 24 25 The Osun Osogbo Grove A UNESCO World Heritage Site

In Yoruba-land in south western Nigeria, each village used to have its sacred grove, an area reserved for the traditional deities. Today, the 75 hectare Sacred Grove located in the town of Osogbo on the banks of the Osun River is the last example of its kind.

In 2005, UNESCO recognised its outstanding universal value by designating the Osun Osogbo Grove a World Heritage site in honour of:

Ÿ The Sculptures and Monuments created by Susanne Wenger and the New Sacred Art Movement that reinforce the special sacred qualities of the Groves;

Ÿ The role of the Grove in sustaining cultural traditions, particularly through their hosting of the annual Osun festival;

Ÿ Its importance for the identity of Yoruba people, both in Nigeria and around the world.

Today, the Osun Osogbo Grove attracts tens of thousands of visitors each year who come to appreciate this natural, artistic and spiritual haven.

With the support of the Adunni Olorisha Trust and the guiding hand of the remaining members of the Sacred Art Movement, the magniﬁcent art in the Grove is being preserved for future generations.

“The Groves of Osogbo are certainly unique in the world...a visit to the Groves can become more than a stroll through an open-air museum—if we let our preconceived ideas and attitudes behind and let our souls partake of nature's energies.”

Augustine Mezedner, 1990

“What I can oﬀer is to provide a brief glimpse of this immense world for others: like a vast landscape at night, lit for a fraction of a second by lightning. Art can succeed--even if only for brief moments-- in making people intensely themselves."

Susanne Wenger 26 27 The Osun Osogbo Grove A UNESCO World Heritage Site

In 2005, UNESCO recognised its outstanding universal value by designating the Osun Osogbo Grove a World Heritage site in honour of:

Ÿ The Sculptures and Monuments created by Susanne Wenger and the New Sacred Art Movement that reinforce the special sacred qualities of the Groves;

Ÿ The role of the Grove in sustaining cultural traditions, particularly through their hosting of the annual Osun festival;

Ÿ Its importance for the identity of Yoruba people, both in Nigeria and around the world.

Today, the Osun Osogbo Grove attracts tens of thousands of visitors each year who come to appreciate this natural, artistic and spiritual haven.

With the support of the Adunni Olorisha Trust and the guiding hand of the remaining members of the Sacred Art Movement, the magniﬁcent art in the Grove is being preserved for future generations.

Augustine Mezedner, 1990

Susanne Wenger 26 27 "None of the artists with whom Susanne Wenger had been working in the Groves has done artistic work before. They had been bricklayers and carpenters and they were Christian or Muslim. Susanne knew that she could work with them. She would wait until their enthusiasm was roused before giving them artistic tasks." Ulli Beier

28 29 "None of the artists with whom Susanne Wenger had been working in the Groves has done artistic work before. They had been bricklayers and carpenters and they were Christian or Muslim. Susanne knew that she could work with them. She would wait until their enthusiasm was roused before giving them artistic tasks." Ulli Beier

28 29 Adeyemi Oseni is one of only 3 elderly artists still working with cement. Adeyemi & Bintu have been working together for more than 40 years.

Small sculptures can be found dotting the landscape of the Grove. Many of these sculptures are in need of restoration

30 31 Adeyemi Oseni is one of only 3 elderly artists still working with cement. Adeyemi & Bintu have been working together for more than 40 years.

Small sculptures can be found dotting the landscape of the Grove. Many of these sculptures are in need of restoration

30 31 Save Our Art! Save Our Heritage! Guest Speakers An exhibion and campaign to save The Osun Osogbo Grove Nigeria's UNESCO World Heritage Site

The Wheatbaker is proud to host Save Our Art! Save our Heritage! an important art exhibion supporng the restoraon of monumental sculptures in the Osun Osogbo Grove. The 15 arsts being presented in this exhibion have come together with a mission: to preserve, restore and protect the Osun Osogbo Grove, Nigeria's UNESCO World Heritage Site.

Nestled in a beauful forest on the edge of the city of Osogbo is the Osun Grove, a place where Yoruba tradion combines with art to create one of the most important sculptural landscapes in the world. The intersecon of heritage and art is deeply rooted here: roots intertwined and nurtured by the same ferle ground, but their trees emerging in different forms. Prof. Bruce Victor Peju The exhibion is made up of works from two disnct art movements that have their origins in Osogbo. While Onabrakpeya Ekpuk Alatise the two groups of Osogbo arsts come from the same geographic locaon, the movements are born of different ideology and training. Professor Bruce Onobrakpeya Victor Ekpuk is a Nigerian-born Peju Alatise is an (born: 1932) is celebrated as contemporary artist based in interdisciplinary artist, There are the arsts of the Grove, sll influenced by the visionary arst Susanne Wenger, whose impressive Nigeria’s foremost Washington, DC. architect and author of two experimental artist. He is His art, which began as an novels. Her debut novel Orita sculptures adorn the landscape of the Osun Osogbo Grove. This group of arsts, mentored by Wenger, among the most successful exploration of nsibidi Meta, chronicling the together created hundreds of sculptures and monuments in the Grove over a period of four decades, artists to have emerged in “traditional” graphics and interwoven path of three beginning in 1958. Susanne's mentorship method was gradual, encouraging these formally untrained arsts West Africa during the 20th writing systems in Nigeria, has women, was nominated for the to develop their own style and personalies. Although the primary works of the art movement were century and continues to evolved to embrace a wider ANA/Flora Nwapa Prize for sculptures in cement, wood, stone and metal, she also introduced the arsts to other mediums including command an influence on the spectrum of meaning that is Women's Writing in 2006. bak & adire texles, as well as drawing. Exhibing arsts from this arsc movement include: Sangodare younger generations of artists. rooted in African and global In her artistic practice, Alatise Ajala, Adebisi Akanji, Rabiu Abesu, Buraimoh Gbadmosi, Kikelomo & Ajibike Ogunyemi Onobrakpeya was a founding contemporary art discourses. draws on the manifold cultural member of the influential Zaria Guided by the aesthetic readingsof clothing in both A second art movement is the arsts of the Osogbo School of Art, the original parcipants of the Arts Society , a.k.a. Zaria philosophy nsibidi, where sign literal and symbolic terms, experimental art workshops founded and led by Ulli & Georgina Beier. In the 1960's Osogbo was 'the' training Rebels, alongside notable systems are used to convey giving structure to her ground, and inspiraon for arsts and soon became known around the world as the 'Le Bank' of Africa. Ulli artists including Uche Okeke ideas, Ekpuk re-imagines investigations into the & Georgina Beier conducted art workshops, and nurtured many great arsts. They also provided the and Yusuf Grillo. graphic symbols from diverse significance and essence of opportunity for art residencies and exhibions overseas. Only three of the original group of arsts remain: The Bruce Onobrakpeya cultures to form a personal womanhood. Recent Foundation was established by style of mark making that exhibitions include Wrapture: Bisi Fabunmi, Chief Jimoh Buraimoh and Muraina Oyelami whose works are included in this exhibion. the artist in 1999. Through results in the interplay of art A Story of Cloth in 2013 at Art annual workshops, the and writing. Twenty One in Lagos, which The exhibion also includes works from other important arsts who have joined the campaign to support the Harmattan series has created Ekpuk's art reflects his explored how individual restoraon of the artwork in the Grove. They are: Prof. Bruce Onabrakpeya (founding member of the Zaria an incredible legacy providing experiences as a global artist. narratives and female Arts Society), Chief Nike Okundaye & Chief Tola Wewe, Polly Alakija, Wura-Natasha Ogunji & emerging artists with “The subject matter of my identities are constituted photographer Adolphus Opara. important skills, training and work deals with the human through the wearing of certain peer support. cloths and fabrics. Of particular condition explained through This exhibion is a rare moment in which 15 arsts represenng different art movements and schools have Onobrakpeya has received significance for Alatise is the themes that are both universal united for a common purpose to Save Our Art! Save Our Heritage! many international and local representation of cloth in awards including the Pope and specific: family, gender, western Nigeria, where it is The campaign is being spearheaded by the Susanne Wenger Adunni Olorisha Trust (AOT), which is raising John Paul II award for painting politics, culture and Identity” - often referred to as a 'wrapper': awareness of the groves; funds from the proceeds of the exhibion will be used to restore the monumental the life of Saint Paul. Victor Ekpuk a symbol, that is, for concealing secrets and shame. sculptures and buildings in the grove which are in urgent need of repair. Onobrakpeya is also the recipient of the Living Human Peju has also been an Treasure Award (2006) given influential voice on the Child The campaign is grateful for the curatorial support of the Smithsonian Instute, Naonal Museum of by UNESCO. Not Bride campaign in Nigeria, African Art in Washington DC, the Susanne Wenger Foundaon in Austria and the Quai Branly Museum in His works have been exhibited with her work regularly France. in museums and galleries feeding into this discourse. across the world including The United States, Europe and West Africa. 32 33 Save Our Art! Save Our Heritage! Guest Speakers An exhibion and campaign to save The Osun Osogbo Grove Nigeria's UNESCO World Heritage Site

Nestled in a beauful forest on the edge of the city of Osogbo is the Osun Grove, a place where Yoruba tradion combines with art to create one of the most important sculptural landscapes in the world. The intersecon of heritage and art is deeply rooted here: roots intertwined and nurtured by the same ferle ground, but their trees emerging in different forms. Prof. Bruce Victor Peju The exhibion is made up of works from two disnct art movements that have their origins in Osogbo. While Onabrakpeya Ekpuk Alatise the two groups of Osogbo arsts come from the same geographic locaon, the movements are born of different ideology and training. Professor Bruce Onobrakpeya Victor Ekpuk is a Nigerian-born Peju Alatise is an (born: 1932) is celebrated as contemporary artist based in interdisciplinary artist, There are the arsts of the Grove, sll influenced by the visionary arst Susanne Wenger, whose impressive Nigeria’s foremost Washington, DC. architect and author of two experimental artist. He is His art, which began as an novels. Her debut novel Orita sculptures adorn the landscape of the Osun Osogbo Grove. This group of arsts, mentored by Wenger, among the most successful exploration of nsibidi Meta, chronicling the together created hundreds of sculptures and monuments in the Grove over a period of four decades, artists to have emerged in “traditional” graphics and interwoven path of three beginning in 1958. Susanne's mentorship method was gradual, encouraging these formally untrained arsts West Africa during the 20th writing systems in Nigeria, has women, was nominated for the to develop their own style and personalies. Although the primary works of the art movement were century and continues to evolved to embrace a wider ANA/Flora Nwapa Prize for sculptures in cement, wood, stone and metal, she also introduced the arsts to other mediums including command an influence on the spectrum of meaning that is Women's Writing in 2006. bak & adire texles, as well as drawing. Exhibing arsts from this arsc movement include: Sangodare younger generations of artists. rooted in African and global In her artistic practice, Alatise Ajala, Adebisi Akanji, Rabiu Abesu, Buraimoh Gbadmosi, Kikelomo & Ajibike Ogunyemi Onobrakpeya was a founding contemporary art discourses. draws on the manifold cultural member of the influential Zaria Guided by the aesthetic readingsof clothing in both A second art movement is the arsts of the Osogbo School of Art, the original parcipants of the Arts Society , a.k.a. Zaria philosophy nsibidi, where sign literal and symbolic terms, experimental art workshops founded and led by Ulli & Georgina Beier. In the 1960's Osogbo was 'the' training Rebels, alongside notable systems are used to convey giving structure to her ground, and inspiraon for arsts and soon became known around the world as the 'Le Bank' of Africa. Ulli artists including Uche Okeke ideas, Ekpuk re-imagines investigations into the & Georgina Beier conducted art workshops, and nurtured many great arsts. They also provided the and Yusuf Grillo. graphic symbols from diverse significance and essence of opportunity for art residencies and exhibions overseas. Only three of the original group of arsts remain: The Bruce Onobrakpeya cultures to form a personal womanhood. Recent Foundation was established by style of mark making that exhibitions include Wrapture: Bisi Fabunmi, Chief Jimoh Buraimoh and Muraina Oyelami whose works are included in this exhibion. the artist in 1999. Through results in the interplay of art A Story of Cloth in 2013 at Art annual workshops, the and writing. Twenty One in Lagos, which The exhibion also includes works from other important arsts who have joined the campaign to support the Harmattan series has created Ekpuk's art reflects his explored how individual restoraon of the artwork in the Grove. They are: Prof. Bruce Onabrakpeya (founding member of the Zaria an incredible legacy providing experiences as a global artist. narratives and female Arts Society), Chief Nike Okundaye & Chief Tola Wewe, Polly Alakija, Wura-Natasha Ogunji & emerging artists with “The subject matter of my identities are constituted photographer Adolphus Opara. important skills, training and work deals with the human through the wearing of certain peer support. cloths and fabrics. Of particular condition explained through This exhibion is a rare moment in which 15 arsts represenng different art movements and schools have Onobrakpeya has received significance for Alatise is the themes that are both universal united for a common purpose to Save Our Art! Save Our Heritage! many international and local representation of cloth in awards including the Pope and specific: family, gender, western Nigeria, where it is The campaign is being spearheaded by the Susanne Wenger Adunni Olorisha Trust (AOT), which is raising John Paul II award for painting politics, culture and Identity” - often referred to as a 'wrapper': awareness of the groves; funds from the proceeds of the exhibion will be used to restore the monumental the life of Saint Paul. Victor Ekpuk a symbol, that is, for concealing secrets and shame. sculptures and buildings in the grove which are in urgent need of repair. Onobrakpeya is also the recipient of the Living Human Peju has also been an Treasure Award (2006) given influential voice on the Child The campaign is grateful for the curatorial support of the Smithsonian Instute, Naonal Museum of by UNESCO. Not Bride campaign in Nigeria, African Art in Washington DC, the Susanne Wenger Foundaon in Austria and the Quai Branly Museum in His works have been exhibited with her work regularly France. in museums and galleries feeding into this discourse. across the world including The United States, Europe and West Africa. 32 33 Exhibiting Artists from the New Sacred Art Movement

Adebisi Akanji is a master Ajibike Ogunyemi (born Kikelomo Oladepo (born Folorunso Isola (born 1949) Rabiu Abesu (born 1940) Nurudeen Gbadamosi is artist. Working with Susanne 1941) creates imaginative 1953) is a textile artist. Born Folorunso's beaten metal comes from a lineage of master keeping alive the Gbadamosi for over four decades, Adebisi works of art in metal and wire. into an artistic family (her works of art, typically in tin but Yoruba wood carvers. Quickly tradition of sculpting in stone was the co-creator of most of A blacksmith by training, mother was a traditional also brass and copper, depict identified as an artist of in Osogbo. His father, the large cement sculptures in Susanne encouraged his textile maker; her father a traditional Yoruba as well as exceptional talent by Susanne, Buraimoh Gbadamosi, who the Groves and indeed, is creativity and his imaginative renowned bronzecaster), she biblical stories. He trained she encouraged Rabiu to passed away at the age of 92 credited with introducing her metal doors and intricately seized the opportunity at the under the great Asiru continue as a traditional but to two years ago, was Susanne to the technique of sculpting designed wire gates are age of 15 to train with Susanne Olatunde, who was the first create his own mode of Wenger's closest friend and a in cement. Before meeting dotted throughout the Groves. as an artist. Kikelomo uses artist who worked in this art expression. “I decided that I great creative collaborator. A Susanne Adebisi was a His playful metal chairs and traditional adire techniques of form with Susanne Wenger. had to struggle to do my tailor by training, Buraimoh bricklayer, creating the sculptures adorn the large cassava paste and indigo, to Asiru chose Folunso as his original carved work for became a master artist decorations for “Brazilian” meeting room in Susanne interpret Yoruba mythology in personal assistant, and many posterity and the working in wood and in stone. baroque style buildings. He Wenger's house and now can a completely modern and free would argued that the student advancement of Yoruba culture “I planned for many years so has developed his artistic be seen in private homes style. grew beyond his teacher. and tradition. My inspiration that my children could be talent to a very high level throughout the world. Ajibike “The expression and message comes to me from the Gift of involved and they are now widening his artistic interests has exhibited in the UK, of my art is to remind people God. The gift is my two inner masters of this profession”. to batiks and sensitive Germany, Austria and France. to go back to their traditions eyes which always reveal to me These solid yet whimsical drawings in pen and ink. All of Ajibike's commissions include and culture and not to what to carve from any wood.” figures depicting Yoruba Adebisi's work draws on his the National Black Theatre in abandon their Yoruba origin. deities blend perfectly into deep knowledge and Harlem, USA. In the design of my textile their forest environment, understanding with Yoruba work, I tell people about peeking out from underneath tradition. Adebisi has exhibited deities and about the life of the foliage. widely in Europe, the USA and our people.” Brazil. His commissions include The National Black Theatre in Harlem, NYC, as well as houses and galleries in Lagos, Abeokuta and Osogbo.

34 35 Exhibiting Artists from the New Sacred Art Movement

34 35 Exhibiting Artists from the Osogbo School of Art

Kasali Akangbe Ogun (born Rabiu Adeleke (born 1944) A Sangodare Gbadegesin Ajala Jimoh Buraimoh colorful large-scale mosaic Bisi Fubunmi 1945), a master wood carver, middle child of 33 siblings, (born 1948) Upon the death of Chief Jimoh Buraimoh (born murals adorn public areas in An important artist of the comes from a long lineage of Rabiu was initially employed his father, Sango (12 years) was 1943, Osogbo) is one of the Nigeria, Europe and the Osogbo School of Art, Bisi woodcarvers known as by Susanne Wenger & Ulli Beier brought to Susanne Wenger, to most influential artists to United States. began painting in 1964 “Arelagbayi”. The family to take care of the household's be raised. Sango began to paint emerge from the 1960's inspired by workshops by Ulli profession, traditionally pet monkeys. The master under Susanne's watchful eye. experimental workshops In addition to creating art, and Georgina Beier where passed down from father to blacksmith, Asiru Olatunde, She later taught him how to known as the Osogbo School of Chief Buraimoh is a dedicated local youth were given the son, was interrupted for two facilitated Rabiu's introduction create batiks using the lost wax Art. Characteristic of the teaching artist. He has been opportunity to experiment in generations due to the to Susanne. It was later, under method which became his Osogbo movement, his work very active in community a variety of mediums and influences of colonialism. It Asiru's tutelage, that Rabiu preferred medium. His works are weaves together western projects in both the U.K. and styles. He pioneered the was revived in the Akangbe learned the craft of producing highly complex and may include media and traditional Yoruba the U.S. Artwork created by medium of Thread Art Collage Ogun family by Susanne beaten metal works of art in up to thirty- five different colors. style. Best known for his Buraimoh and his students in in Nigeria and early on in his Wenger in the 1960's. tin, copper and brass; a craft in His largest works can take up to signature bead paintings and city-sponsored programs are career gravitated to Mentored by Susanne over which he has become a two years to complete. mosaic murals, Buraimoh is permanently displayed at printmaking using wood many decades, she master. Rabiu enjoys bringing Sangodare's art communicates among the distinguished artists Atlanta's Hartsfield-Jackson blocks and wood cuts. His encouraged Kasali to interpret forth the visual interpretation the rich complexity of his permanently displayed at the Airport. He has exhibited work further developed tradition Yoruba wood of oral history. He has heritage and spirituality. The Smithsonian Museum of widely in Africa, Europe and through his art residency at carvings of deities in a fresh exhibited at the Goethe inspirations for his extraordinary African Art in Washington, DC. the United States. Beyreuth University in and new way. Kasali's Institute in Lagos. batiks are rooted in Yoruba Buraimoh is recognized for Germany. Once established as beautiful wood sculptures and mythology. Sangodare has leading the continent with the an artist, he continued his decorative posts can be found exhibited his batiks throughout creation of contemporary bead career as a Curator at the throughout the UNESCO site. the world including: Nigeria, painting, an art form he University of Ibadan, with He has exhibited widely in Europe, the USA, Brazil & Cuba. developed in 1964. He was connections as well to the Europe, the USA and in Lagos. One of his largest batiks was awarded the Lifetime Universities of Ife and Lagos. Kasali is now passing this fine installed at the SAID School of Achievement Award from the In his words “My works can be art of Yoruba carving to his Business at Oxford University Center for African and African said to be anchored in the sons. (2014). He was awarded the American Art and Culture in mainstream of African modern prestigious AAF/ Nigerian San Francisco, California (1996). art. I have, however, drawn Breweries Natl Art Competition His mosaic mural, The Elders, much of my inspiration from Golden Jubilee Award (2010). commissioned by the City of the traditional art of the Sango lives in Osogbo; his art Atlanta, Georgia, received an Yoruba people with its rich studio is still located in Susanne Award of Excellence from the mythology and scenes form Wenger's house. He oversees the Atlanta Urban Design everyday life. The themes are restoration of the monuments Commission (1997). Buraimoh's reworked in the language of and sculptures in the Grove, with abstract art.” funds raised by the Adunni Olorisha Trust. 36 37 Exhibiting Artists from the Osogbo School of Art

Muraina Oyelami Muraina Oyelami has exhibited Prof. Bruce Onobrakpeya the recipient of the Living Nike Okundaye Tola Wewe Muraina Oyelami was born in his works and performed Professor Bruce Onobrakpeya is Human Treasure Award (2006) (born 1951) spent the early Born in Okitipupa, Ondo State, Iragbiji, Nigeria in 1940. A man traditional and fusion music celebrated as Nigeria's foremost given by UNESCO, and on part of her life in Osogbo in 1959, Adetola Wewe of two worlds, Oyelami is throughout Europe, Asia, experimental artist. He is among September 14th, 2010 he where she informally learned graduated with a Fine Art known a master painter as well Africa, Australia and USA. His the most successful artists to became the second winner of about indigo and adire dying Degree from the University of as a great performing artist in varied and enormous list of have emerged in West Africa Nigeria's prestigious Nigerian techniques and attended the Ife in 1983. Continuing his music and theatre. Oyelami credits include Guest of the during the 20th century and Creativity Award by the famous Osogbo experiential studies, he earned a Masters began his career as an artist in Chopin Academy of Music in continues to command an Federal Government of art workshops. Degree in African Visual Arts 1964 as one of the original Warsaw, Poland, Artist in influence on the younger Nigeria. Its first winner was Okundaye is the founder and from the University of Ibadan products of the famous Residence and Fellow of the generations of artists. Chinua Achebe. His works director of four art centers, one in 1986. He began his career as Osogbo School of Art. Muraina National Black Theatre in Born on August 30th, 1932 in have been exhibited in of which is the largest art a cartoonist, but became a full- studied Technical Theatre Harlem, New York and Guest Agbahra-Ottor, Delta State, museums and galleries across gallery in West Africa, housing time studio artist in 1991. specialising in Theatre Design Professor in African Studies at Onobrakpeya is the son of an the world including in New over 7,000 artworks. Through Wewe is a founding member of at the Obafemi Awolowo the University of Bayreuth, Urhobo carver. In 1957 he was York, London, Bratislava, her art centers, Okundaye the ona movement. Emerging University, Ile Ife where he later Germany. admitted to study at the Bologna, Washington DC, offers training to young artists in 1989, this movement was taught traditional music from Nigerian College of Arts, Science Berlin, the Vatican in Rome, in visual, musical and comprised of a group of 1975 to 1987. Described by and Technology. There, Bonn, Charleston, Dakar, and performing arts. She has been practicing artists, scholars and many as a poetic painter with a Onobrakpeya was a founding in Lagos, Asaba and Abuja. instrumental in reviving critics unified in their pursuit of romantic touch, Oyelami's member of the influential Zaria traditional adire textile art artistic excellence through a works are a representation of Arts Society , a.k.a. Zaria Rebels, through her training programs, contemporary interpretation of his experiences, stories, alongside notable artists for women and youth, in traditional Yoruba art and folktales and landscapes. including Uche Okeke and Yusuf Osogbo. design. Wewe draws inspiration Grillo. Nike Okundaye has grown to from the ona symbols of the Oyelami was also a founding Onobrakpeya established the become one of the most Yoruba and he often explores member of the late Duro Bruce Onobrakpeya Foundation internationally recognized themes of traditional Yoruba Ladipo Theatre Company as an in 1999. Through annual summer names in contemporary folklore through his artwork. actor and musician. He toured workshops, the Harmattan series African art. She has exhibited Adetola Wewe is known for his with the group to the Berlin has created an incredible legacy in many locations including: mastery of colors and textures Festival of Art in 1964 and the that has provided emerging Nigeria, the US and Europe. as well as the original simplicity first Commonwealth Arts artists with important skills, of his designs. He served as Festival in the United Kingdom training and peer support. the Commissioner for Arts and in 1965. Oyelami composed Onobrakpeya has received many Culture, Ondo State, from 2009 and directed the music for international and local awards – 2111. Beyond Nigeria, Tola Wole Soyinka's famous 'Death including the Pope John Paul II Wewe's work has been and the King's Horseman' at award for painting the life of exhibited in the US and the UK. the Royal Exchange Theatre, Saint Paul. Onobrakpeya is also Manchester, England. 38 39 Contributing Artists

The purpose of the Trust is to preserve and promote the Osun Osogbo Grove. The Adunni Olorisha Trust (AOT), a registered Trust, was established in 1998 in Nigeria to support Susanne Wenger's work following the death of her long-time patron and friend, Chief Adebayo Adeleke. After Susanne's passing at the age of 93 in 2009, the Trust took responsibility for ensuring that her remarkable legacy continues. Today, the AOT is chaired by Chief Adebayo Adeleke's son, John Adeyemi Adeleke. The Trust is named after Susanne's Yoruba name “Adunni” meaning “the adored” and “Olorisha” meaning “of the deities”. The name represents Susanne's deep commitment to and respect for Yoruba culture and the art form it inspired. Our objectives are to ensure: · That the art work created by the New Sacred Art Movement is Polly Alakija Wura-Natasha Ogunji is a Adolphus Opara conserved to a high artistic standard and that the artists of the Polly Alakija was born in 1966, visual artist and performer. Her Adolphus Opara's work is Movement are recognized and new artists encouraged; in Malvern UK where she hand-stitched drawings, made influenced by encounters with · That the Osun Osogbo Grove is protected: as both a living cultural completed A levels including on architectural trace paper, people and their daily effort to heritage site and for the flora and fauna it contains; art as a subject. She continued reference the daily interactions exist amidst obstacles that are · That this remarkable legacy of Yoruba heritage, art and nature is studying art at the Oxford and frequencies that occur in defined by their locality. He uses promoted and celebrated both in Nigeria and internationally. Polytechnic and later the city of Lagos. She often visual story telling, through completed a teaching diploma combines images of the iconic photography, to show his The AOT is run by volunteers, who share Susanne's commitment to in the Montessori method. She and the ordinary in emotional connection to the heritage, art and the environment. moved to live in Nigeria from unexpected ways. Her most issues he confronts. 1990, married, and in 2005 recent series of works on paper Opara attended Abrose Alli relocated to South Africa. In was exhibited in the Magic University where he studied 2011 Polly moved to the UK , exhibition at Omenka Gallery. Computer Science. He also and is now based in Ogunji's performances have attended the Nigerian Institute Gloucestershire. been featured at leading art of Journalism / Photojournalism. As well as pursuing her own centers in South Africa, Nigeria He has exhibited works in art career, she has involved and the United States. Her Nigeria, Mali, South Africa, herself actively in community commissioned performance London, Austria & Paris. art related projects and 'An ancestor takes a painting. Polly is particularly photograph', which recasts the interested in the human form traditional Egungun and the portrayal thereof. Her masquerade with women, is architectonic figures languish featured in the Seattle Art within their laconic Museum exhibition 'DISGUISE: environment in timeless Masks and Global African Art'. serenity, self-contained and Ogunji has a BA from Stanford unperturbed. University (1992, Her work is included in Anthropology) and an MFA numerous private collections from San Jose State University in the USA, UK, France, Nigeria (1998, Photography). She lives and South Africa and in in Lagos. several corporate collections, including Sahara, AVI, and Laurent Perrier.

40 41 The Susanne Wenger Adunni Olorisha Trust (AOT)

40 41 Members of the Trust: Thank you John Adeyemi Adeleke (Trustee and Chair): The Susanne Wenger Adunni The Susanne Wenger Adunni The Committee would like to John Adeleke is a lawyer, qualiﬁed in London and Orishia Trust (AOT) has enjoyed Olorisha Trust (AOT) would like acknowledge the following Nigeria, and an investment risk consultant. He a longstanding harmonious to recognize and thank the individuals for their generous heads the World Trade Centre of Nigeria Ltd/Gte relationship with local sponsors of the Save Our Art! contributions of art & personal and sits on the international Board of the World government and traditional Save Our Heritage! commitment to the Trade Centre Association Inc. in New York. leaders. The AOT would like to Campaign Launch & Exhibition Save Our Art! Save Our extend its sincere appreciation Heritage! Campaign: to the following: The Republic of Austria Bruce Onobrakpeya National Commission for Jimoh Buraimoh Museums & Monuments Indomie Muraina Oyelami Sangodare Ajala, New Sacred Art Movement (NCMM) Neil Coventry (Trustee): Sangodare Ajala is a traditional Priest, Dr. Yusuf Abdalalh The Goethe Institute Ngozi & Winnie Schommers artist and the adopted son of Susanne Wenger. Director General Nike Okundaye Sangodare's art is recognized both nationally 5D Imagery Peju Alatise (recipient of Nigeria's 2010 Golden Jubilee Award) The Osun State Government Polly Alakaji and internationally, and his work can be found in DHL Sim Shagaya both public institutions (Oxford University) and in Rauf Adesoji Aregbesola Victor Ekpuk private collections. As On-Site Manager, Mr. Ajala Governor of Osun State LaCour Hotel Wura-Natasha Ogunji plays an essential role in the execution of the restoration work carried out by the AOT. The Royal Family The Nike Art Gallery His Royal Majesty Oba Jimoh Oyetunji The Committee thanks the Gusti Merzeder-Taylor (Trustee): Ms. Merzeder Olanipekun Larooye II following individuals for their Taylor is a Trustee of both the AOT and The The Atoaja of Osogboland The AOT would also like to friendship to the Campaign: Susanne Wenger Foundation in Austria. Gusti extend a special thank you to Aditya Chelleram lived and worked in Nigeria for more than 25 our host, Alan Davies years. She was a very close friend of Susanne Bola Austin-Peters Wenger, co-authored books with her and The Wheatbaker Gauthan Hathiramani provides important archival material to support Gusti Merzeder-Taylor the AOT's work. Jonathan Millard Kavita Chelleram The AOT is deeply grateful to Stella Amachree the following donors Key Volunteers: for their support of the Hugh Campbell and Robin Campbell (Volunteer Save Our Art! Save Our A special thanks to Mrs. Sandra Co-Chairs, AOT Management Committee): Mr. Heritage! Campaign: Mbanefo Obiago for her Campbell is a Canadian lawyer who has worked invaluable guidance, and lived in Nigeria for more than 35 years. He is Indomie assistance and support. the retired Senior Country Oﬃcer for Alcatel. Ms. Campbell is Canadian professional in Community Julius Berger Development and Planning living in Lagos. She has held executive positions in numerous The Ford Foundation Canadian NGOs. The campaign is grateful for the Vita Construction Limited curatorial support of the Smithsonian Instute, National Adedoyin Talabi Faniyi: Doyin Faniyi is the Pisces Power Museum of African Art in adopted daughter of Susanne Wenger. Doyin Washington DC, the Susanne has a MA from the University of Ibadan in Wenger Foundation in Austria African Studies and has lectured at Universities and the Quai Branly Museum in in both Nigeria and in the USA. Doyin continues France. to live in Susanne Wenger's house and welcomes visitors, introducing them to the history of the Osun Osogbo Grove and Yoruba traditions.

42 43 Members of the Trust: Thank you John Adeyemi Adeleke (Trustee and Chair): The Susanne Wenger Adunni The Susanne Wenger Adunni The Committee would like to John Adeleke is a lawyer, qualiﬁed in London and Orishia Trust (AOT) has enjoyed Olorisha Trust (AOT) would like acknowledge the following Nigeria, and an investment risk consultant. He a longstanding harmonious to recognize and thank the individuals for their generous heads the World Trade Centre of Nigeria Ltd/Gte relationship with local sponsors of the Save Our Art! contributions of art & personal and sits on the international Board of the World government and traditional Save Our Heritage! commitment to the Trade Centre Association Inc. in New York. leaders. The AOT would like to Campaign Launch & Exhibition Save Our Art! Save Our extend its sincere appreciation Heritage! Campaign: to the following: The Republic of Austria Bruce Onobrakpeya National Commission for Jimoh Buraimoh Museums & Monuments Indomie Muraina Oyelami Sangodare Ajala, New Sacred Art Movement (NCMM) Neil Coventry (Trustee): Sangodare Ajala is a traditional Priest, Dr. Yusuf Abdalalh The Goethe Institute Ngozi & Winnie Schommers artist and the adopted son of Susanne Wenger. Director General Nike Okundaye Sangodare's art is recognized both nationally 5D Imagery Peju Alatise (recipient of Nigeria's 2010 Golden Jubilee Award) The Osun State Government Polly Alakaji and internationally, and his work can be found in DHL Sim Shagaya both public institutions (Oxford University) and in Rauf Adesoji Aregbesola Victor Ekpuk private collections. As On-Site Manager, Mr. Ajala Governor of Osun State LaCour Hotel Wura-Natasha Ogunji plays an essential role in the execution of the restoration work carried out by the AOT. The Royal Family The Nike Art Gallery His Royal Majesty Oba Jimoh Oyetunji The Committee thanks the Gusti Merzeder-Taylor (Trustee): Ms. Merzeder Olanipekun Larooye II following individuals for their Taylor is a Trustee of both the AOT and The The Atoaja of Osogboland The AOT would also like to friendship to the Campaign: Susanne Wenger Foundation in Austria. Gusti extend a special thank you to Aditya Chelleram lived and worked in Nigeria for more than 25 our host, Alan Davies years. She was a very close friend of Susanne Bola Austin-Peters Wenger, co-authored books with her and The Wheatbaker Gauthan Hathiramani provides important archival material to support Gusti Merzeder-Taylor the AOT's work. Jonathan Millard Kavita Chelleram The AOT is deeply grateful to Stella Amachree the following donors Key Volunteers: for their support of the Hugh Campbell and Robin Campbell (Volunteer Save Our Art! Save Our A special thanks to Mrs. Sandra Co-Chairs, AOT Management Committee): Mr. Heritage! Campaign: Mbanefo Obiago for her Campbell is a Canadian lawyer who has worked invaluable guidance, and lived in Nigeria for more than 35 years. He is Indomie assistance and support. the retired Senior Country Oﬃcer for Alcatel. Ms. Campbell is Canadian professional in Community Julius Berger Development and Planning living in Lagos. She has held executive positions in numerous The Ford Foundation Canadian NGOs. The campaign is grateful for the Vita Construction Limited curatorial support of the Smithsonian Instute, National Adedoyin Talabi Faniyi: Doyin Faniyi is the Pisces Power Museum of African Art in adopted daughter of Susanne Wenger. Doyin Washington DC, the Susanne has a MA from the University of Ibadan in Wenger Foundation in Austria African Studies and has lectured at Universities and the Quai Branly Museum in in both Nigeria and in the USA. Doyin continues France. to live in Susanne Wenger's house and welcomes visitors, introducing them to the history of the Osun Osogbo Grove and Yoruba traditions.

42 43 The Save Our Art! Save Our Heritage! Campaign Committee Members:

Olufemi A. Akinsanya - Chair Karin Troy Nella Hengstler Robin & Hugh Campbell

www.susannewenger-aot.org

44 45 The Save Our Art! Save Our Heritage! Campaign Committee Members:

Olufemi A. Akinsanya - Chair Karin Troy Nella Hengstler Robin & Hugh Campbell

www.susannewenger-aot.org

44 45 Photo Credits Adolphus Opara: C over, 18, 19, 24, 25, 27 Gert Chesi: 6, 7 Julius Berger: 4, 8, 9, 10, 11, 12, 13, 16, 17, 20, 22, 28, 29, 44, Inside Back Cover Karin Troy: 15, 20, 21, 23, 30, 31 Lesley Lababidi: 14 The Smithsonian Institute, National Museum of African Art, Eliot Elisofon Photographic Archives, 1970: Inside Front Cover Ulli Beier: 5

46 Photo Credits Adolphus Opara: C over, 18, 19, 24, 25, 27 Gert Chesi: 6, 7 Julius Berger: 4, 8, 9, 10, 11, 12, 13, 16, 17, 20, 22, 28, 29, 44, Inside Back Cover Karin Troy: 15, 20, 21, 23, 30, 31 Lesley Lababidi: 14 The Smithsonian Institute, National Museum of African Art, Eliot Elisofon Photographic Archives, 1970: Inside Front Cover Ulli Beier: 5