Centre for Contemporary Art, Lagos (CCA,Lagos) is an independent non-profit making visual art or- September ganisation set up in December 2007 to provide a platform for the development, presentation, and Newsletter N°10 December 2010 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- Become a friend! represented in Nigeria. CCA,Lagos supports the intellectual and critical development of different Become art and culture practitioners through talks, seminars, workshops and exhibitions. In addition it a Supporter! encourages and promotes the professionalisation of production and curatorship in Nigeria Become a part and West Africa collaborating with artists, curators, writers, theorists and national of our world! and international organisations.

Centre for Contemporary Art, Lagos E: [email protected] 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria. W: www.ccalagos.org T:+234 (0)702 836 7106

Look Inside >

> International Residencies > Forthcoming and Past Programmes > Artist Focus: Otobong Nkanga > Portfolio@CCA, Lagos > Art, Fashion and Identity: Karo Akpokiere > Contemporary African Art-Language, Dialect or Accent? by Antawan I. Byrd > Cosmolocalism: The Audacity of Place by Ruth Simbao > Invisible Borders 2010 > and more…

Editors: Bisi Silva & Antawan I. Byrd / Contributing Editors: Jude Anogwih and Oyinda Fakeye Contributors: Ronke Adeola - Invinsible Borders 2010 - Karo Akpokiere - Jimoh Ganiyu Akinloye - Hansi Loren Momodou - Otobong Nkanga - Adewale Osoneye - Ijeoma Uche-Okeke - Ruth Simbao. Designer: Fabrice Lecouffe - witgraphicdesign.blogspot.com / Cover Image: Jude Anogwih and Adewale Osoneye. 1960-Independence Map (2010) / Edition: 1000 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 (0)702 836 7106 Board of Trustees: El Anatsui - Joke Jacobs - Valerie Edozien-Nwogbe We gratefully acknowledge the support Kehinde Oyeleke - Bisi Silva, Director. of AECID through the Spanish Embassy in Nigeria.

p1/ •Welcome •Past Programmes •Contemporary African p3/ •Art, Fashion & Identity •Viva Africa! Felabration 2010 •Professional Development Art-Language, Dialect, Accent? •US Report: ICI Curatorial Tour p7/ •International Programmes at CCA, Lagos p6/ •Available Publications •Invisible Borders 2010 Forthcoming Programmes: •Independence Shorts •Artist Focus: •CCA, Library p2/ p4/ Contents •J.D. Okhai Ojeikere: •Oumou Sy ‘Kings and Queens Otobong Nkanga p2/ •Thinking Out Loud May Sartorial Moments and the of Africa’ •Images from Art-iculate Newsletter N°9 August 2010 p7/ •Cosmolocalism: [ ] Nearness of Yesterday •Watch Out! p5/ •Portfolio@CCA,Lagos p8/ •A Nigerian Library The Audacity of Place •Jimoh Ganiyu Akinloye

We start by raiding the archive and cel- ing has enabled us to adopt a new format finished recently with the NSK Passport This is borne out by our 2009/10 Ful- ebrating the diversity of the work of mas- for this year’s three quarterly newsletters. project curated by Hansi Momodu. bright fellow Antawan I. Byrd whose im- ter photographer J.D. Okhai Ojeikere and Their support has also enabled us to be- mense contribution during a one-year presenting a modest selection of work fo- gin work on the forthcoming Democrazy None of these activities would be pos- sojourn sees him re-integrated as an cusing on traditional and western dress- publication. Arts Collaboratory has been sible without the confidence, support and adjunct curatorial assistant working on ing from the 50s to the 70s. Professional generous in supporting our exhibition pro- dedication of the CCA, Lagos’ board of several projects with us from his base in Welcome development as well as intercultural in- gramme as well as a pilot project in artist trustees. Their journey with us makes the the US. Celebrating Nigeria? As this final edition for 2010 is released, teraction continues to be a priority of our residencies, a workshop and curatorial work that we do all the more rewarding activities marking 50 years of independence go into overdrive. activities. We have two residencies in the development initiatives. Prêt-à-Partager and fun. To my colleagues – the back- Whilst we acknowledge the Ambivalence of Independence and the tensions inher- Nigeria can be adept at making the biggest noise, the baddest works, Uchay Chima Joel goes to Amster- was such an ambitious programme and bone that keeps the dream alive – Jude, dam, whilst Albert Portrony from the UK the partnership we formed with IFA and Oyinda, Kemi, Mama Niyi, Antawan and ent in the postcolony, we nonetheless parties and allocating the largest budgets – at the last minute. comes to Lagos. We will also collaborate Geothe Institute has been invaluable. Hansi my appreciation remains limit- look ahead to the promise of the next It seems our Federal government must have been momentarily with Triangle Arts Trust to organise their The Lagos and Johannesburg branches less. Their continuous manifestation of 50 years. A collective promise to work first workshop in Lagos featuring Nigerian of the Goethe Institute have shown that commitment, dedication and passion towards creating the places and spaces jolted out of their politricking and reminded of the importance for dialogue, discourse, interaction and st artists as well as artists from across the support is part of a continuum that must remains unwavering for the idea of CCA, of the looming date - 1 October. For the day’s celebration, the continent and further abroad. be developed and cultivated. An excellent Lagos. That we can work together yet, (in) exchange. A promise that will allow us to legislators promptly approved a whooping 10 billion-naira bud- example of this is the Advanced Training dependent of each other, speaks of the celebrate in 100 years—the true mean- get and had the audacity to break it down into its nonsensical Our library has benefitted immensely programme started in 2008 which dynamism of each member of the CCA, ing of Independence. The promise be- gins now. In the spirit of Owambe, Happy parts. from the generous of some organisations Lagos family. and individuals. This quarter we are ex- 2011! pecting over several boxes of publications Over the past month, I spent a great deal began exploring these issues earlier this Welcome to our World. of time visiting a hospitalised relative. year through our groundbreaking art just from my recent visit to America. Our major achievement has been digitalising During such trips, I would often pass by a photography residency programme, the Bisi Silva / Director tall abandoned building that never ceased recent NSK Passport project, as well as all the books in the library thanks to the to capture my curiosity. I subsequently in our programming under the theme efficient assistance of Britta Husken and learnt that this building was the first high of Art, Fashion and Identity. All of these Mojibade Oladunjoye. We hope to extend rise - consisting of 23 floors - constructed projects, with their supplemental talks, this digitalising to our collection of maga- in Nigeria, and was a gift (in 1960) to the panel discussions, workshops and events zines, journals and ephemera materials. 1 new Nigeria from Britain. It is called Inde- created a fulfilling, vibrant and dynamic Our ‘boast’ of being the largest indepen- pendence House. During my daily drive year. As the year comes to a close, our dent art library in Africa should surely past it, I found myself overwhelmed with programme will take on a more fluid char- come to fruition soon. Thank you so much a mixture of emotions and responses; a acter ranging from 1 and 2 days events to to all of you. The amount of people that sense of anxiety over the structure’s sig- 2-week projects providing for an eclectic have engaged with us this year has been nification; admiration for the tall dreams programme of presentations, workshops, nothing short of staggering and we are that Nigeria once harboured; and fear interactions, talks and exhibitions culmi- pleased by the interaction of so many lo- of its current state of abandonment and nating (funding permitting) in an exciting cal and international artists and curators. neglect—a state that is emblematic of the and ambitious presentation of work by I continue to extend my gratitude to the current condition of the country. the incomparable Senegalese fashion Prince Claus Fund and the Mondriaan designer Oumou Sy. For the Art, Fashion Foundation whose initial generous sup- All these emotions make this year’s pro- and Identity section of this issue, we give port in 2009 encouraged us to build on gramme On Independence and the Am- the emerging artist Karo Akpokiere the our programmes confidently. We are bivalence of Promise all the more urgent platform to create and document a series deeply appreciative for the support of the as a way of engaging with the past, the of textile designs based on his distinct Spanish International Development pro- present and anticipating the future. We graphic illustrations. gramme (AECID), whose substantial fund-

1 1960-Independence Map, 2010. Jude Anogwih and Adewale Osoneye.

CCA,Lagos / Newsletter issue No.10 / September - December 2010 1 International Forthcoming Programmes Uchay Joel Chima Programmes Amsterdam, 7th Aug > 7th September 2010

Alite Thijsen of the One Minute Foun- J.D. Okhai Ojeikere: Viva Africa! Felabration 2010 at CCA, Lagos dation and artist Miguel Petchkovsky, Sartorial Moments and the Nearness 14th > 16th October, 2010 Uchay will develop his video art skills. He will also meet and interact with lo- of Yesterday This year’s theme of Felabration is drawn throughout the city of Lagos in celebra- st th from Fela’s prophetic message ‘Viva Af- tion of the life and work Fela Anikulap- cal and international artists based in 1 October > 14 October 2010 1 Amsterdam as well as visit museums, rica’ released in 1969, reacting to Nige- Kutu, there will be an audio-visual pre- galleries, art organisations and other ria’s civil war and asking us all to heed sentation of contemporary photography, art professionals. Whilst in Amsterdam the lessons therefrom. As a part of the and a multimedia installation at CCA, he hopes to work on the development many Felabration activities happening Lagos. Curated by Tamilore Kuboye. of a new work.

Uchay Joel Chima graduated in 1997 from the Art School of the Institute of Management and Technology, Enugu. He started working in new media art in 2007 and has exhibited in Nigeria and As part of CCA,Lagos’ objective to pro- abroad. actively contribute to the professional development of artists, we are pleased Visit his site at to present our first overseas artist resi- www.uchayjoelchima.blogspot.com dency. Uchay Chima took part in our Vid- eo Art Workshops in 2008/2009 in col- laboration with One Minutes Foundation and Miguel Petchkovsky’s Línea Imagi- naria. His work ‘Carbon Blues’ won, by popular audience vote, the 1st prize in the 2nd workshop – an all expenses cov- ered residency in Amsterdam. Over a month period to be facilitated by artist Uchay Chima Joel. Photo: Courtesy the Artist

CCA, Lagos/Triangle Arts Trust

International Workshop 2 4th > 17th October 2010 CCA Lagos and Triangle Arts Trust are During the workshop participants will organising the first Triangle Workshop at also be invited to present their work to Independence Shorts the Stone House in Alakuko, Lagos. The each other and to the public. The work- October > November 2010 two-week workshop will bring together a shop will end with an Open Day, when group of artists working in various disci- the public will join the artists in celebrat- 3 plines to share ideas, experiences and to ing the outcome of the two weeks. make new work inspired by the context and the opportunity to work alongside This workshop is funded by The British other artists. Approximately 18 artists Museum, the Ford Foundation and the will participate in the workshop, half from Commonwealth Foundation. It is or- Nigeria and the rest from other countries ganised and supported by CCA, Lagos JD ‘Okhai Ojeikere has received a great Nigeria its 50th year of independence, in Africa and further abroad. and Triangle Arts Trust in collaboration deal of international recognition for his CCA, Lagos is pleased to present in col- with Stone House, Alakuko photographic series that explores the laboration with foto ojeikere a selection aesthetic form of hairstyles and head- of photographs that Ojeikere produced ties. In addition to being the subject of from the early 1950s to the late 1970s. Gasworks Residency in collaboration with many solo-exhibitions, Ojeikere’s work has been featured in many mega-exhibi- Within the context of our Art, Fashion CCA, Lagos. tions such as Documenta XI. and Identity programme, this exhibition focuses on a selection of work from Ojeik- Albert Potrony There still remains, however, other sig- ere’s oeuvre that explores fashion—both Lagos, 1st November > 12th December 2010 nificant bodies of work from the artist’s in the traditional and western styles, with archive—amassed over a 60-year peri- images taken at work, at play and during Albert Potrony works in a variety of me- Alongside his practice, Petrony has de- od—that has yet to be shown publicly. special events. dia, from sculpture and installation to vised and delivered art projects as an As Ojeikere celebrates his 80th year, and video and sound. His work reflects an artist-educator for the Whitechapel gal- interest in the gaps between perception lery, Tate Modern, Gasworks, The Draw- and interpretation, language and under- ing Room, Orleans House Gallery, Eng- standing. And the larger question—What lish Heritage, Bow Arts Trust, Goldmiths Oumou Sy ‘Kings and Queens of Africa’ may be revealed through these gaps? College and Next Generation at the Na- December 2010 Memory, recollection and the shifting tional Theatre. frame of definition are recurring themes CCA, Lagos is pleased to present the Les Seigneurs tells the story of European in his mixed media installations. Allowing Whilst in Lagos, Potrony is interested in work of Senegalese fashion designer penetration into Africa using narratives a story to unfold is a key principle of his establishing a series of dialogues with and artist Oumou Sy. Internationally re- of the infamous ‘seigneurs’ as the point practice, with random discoveries being Lagosians as a possible starting point to nowned for her fantastical and lavishly of departure. Her haute couture work is as important as the concepts involved in developing a new piece of work. produced fashion events, Sy’s work com- also informed by urbanization, the Sahel shaping his works. Visit his site at www.albertpotrony.com bines haute couture and high art with region as well as everyday realities. aspects of our socioeconomic and politi- cal histories. Like a storyteller, an orator, Sy has shown her work internationally or griot, Oumou Sy’s trademark resides since 1982, presenting her creations in the way in which she employs her cre- in Africa and Europe as well as present- ations to tell stories about African history ing her first défilée in New York in 1999. and culture. In 1998 she received the “Prince Claus Award” for her contribution to African Her most celebrated collection the Kings fashion as well as to social and educa- and Queens of Africa consisting of over tional development. Oumou Sy was born 2000 objects delves deep to narrate the in 1952 in Podor, Senegal. history of a continent. Another collection 4 5

A programme featuring a series of events talks, workshops, screenings and exhibi- called ‘Independence Shorts,’ which are tions that focus on fashion, expectations, aimed at reflecting and celebrating inde- information dissemination and activism. pendence. It will present a collection of

Watch Out! Preview of 2011 Programmes Master Class for Photographers, Febru- 2nd International Art Photography Resi- ary 2011 dency Programme, November/Decem- A six-day intensive master class led by ber 2011 Babajide Adeniyi-Jones and Akinbode CCA,Lagos will be presenting its 2nd art Akinbiyi for advanced professional pho- photography residency programme fea- tographers. More info: turing local and international artists, cu- [email protected] rators and writers. To receive more infor- mation or to join the mailing list, please contact [email protected]

1 JD ‘Okhai Ojeikere. Untitled (1963). Courtesy Foto Ojeikere. 2 Fela Kuti, Seasons and Relatives, Courtesy Felabration 2010. 3 Burlesque Princess, 2010. Photo: Jessica Flavin. 4-5 Oumou Sy Fashion Show, Off Dak’Art, 2008. Photos: Bisi Silva.

2 CCA,Lagos / Newsletter issue No.10 / September - December 2010 Past Programmes “A Visionary Africa: Reflections on Geo-Graphics” Towards a Double Consciousness: 7th June > 20th September 2010 NSK Passport Project Jude Anogwih 26th > 1st July 2010 Imagine being a contemporary African Whilst the inclusion of 7 other organi- Loren Hansi Momodou artist and having your work shown along- zations such as Picha an artists’ initia- 3 side ethnographic art of Africa. Further, tive based in Lubumbashi, Darb 1718, a starting point at which to consider the imagine that you are part of a larger dia- Cairo, Doual’Art, Douala and Apparte- question of why so many Nigerians have logue on the relationship between the ment 22, Rabat showed the diversity sought this duel identity. ethnographic and the contemporary. In and dynamism of contemporary artistic between this imagery is the reality that production on the continent, their pre- A level of misunderstanding between African art and artists have been repre- sentations were overwhelmed by the the initial artistic impetus of NSK State sented in an array of contexts for a long Royal Museum for Central Africa, Te- in Time, and those who had discov- time. Considering major contemporary vuren’s 200 or so magnificent objects ered the element of the project which art exhibitions like Africa ‘95 and Seven which constitute a miniscule part of the involved the issuing of passports, via Stories about Modern Art from Africa monumental pillage of the then Belgian the Internet was highlighted during the at the Whitechapel gallery, we realise Congo’s material culture. The contem- event. Day 1 of the symposium brought the NSK State in Time back into the that there has been no shortage of plat- porary artworks included video installa- CCA, Lagos was thrilled to welcome context of contemporary art. Dr Inke forms for presenting and representing, tions, map works, photography, a radio three significant academics from the Arns gave a compelling introduction to the continent within the global realm of project by Appartment 22 and works of international Art World for Towards a artist’s projects that have crossed the contemporary art. This is precisely one individual artists by Raw Material, Da- Double Consciousness: NSK Passport boundary between art and ‘real’ life. of the aims set out by the recent Vision- kar and La Rotonde des Art, Abidjan. Project. Artists Miran Mohar and Burout Day 2 allowed for in-depth discussion ary Africa project. Volgelnik (Irwin/NSK Founding mem- 1 with NSK founding members to exam- Contemporary art practices and cultural bers) and Curator Dr. Inke Arns present- ine their initial intentions in founding a rd Visionary Africa is a project, which ac- output on the continent, according to ed alongside artists Jelili Atiku and Jude A View from the Inside: On the 3 Johannes- fictional state and proceeded by issuing cording to the Artistic Director, David architect David Adjaye, is arguably ‘influ- Anogwih at the two-day symposium. th th fictional passports. It was also anop- burg Art Fair 2010 26 > 28 March, 2010 Adjaye, and curators Anne-Marie Bout- enced by the geographic zones or natu- They made studio visits to artists and portunity to discuss the ethical implica- Ijeoma Uche-Okeke tiaux, Nicola Setari and Koyo Kouoh, is ral environment’. Thus, in this way, Geo- immersed themselves in the vibrant cul- dedicated to African culture, past and graphics links past and present forms tions that are now pertinent although I had a very interesting view of, and It is precisely these questions that were tural life of Lagos. present. It is also part of a pioneering of artistic production in order to bridge inherited. The project became as much greater insight into the 2010 Joburg art continuously broached throughout the project for cultural cooperation between the temporal and spatial distances be- a starting point as it was a conclusion, fair working as a member of the Centre fair, but framed generally within the con- The NSK Passport Project was conceived Europe and Africa. Geo-graphic,one of tween different geographic regions. Yet, and one of the key outcomes will be for for Contemporary Art, Lagos (CCA, Lagos) text of international art fairs. The general through conversations between Dr Inke the core programmes of the show pres- following this way of thinking, one might NSK to issue a formal public statement team. This year’s fair had an added air of consensus was that within Africa, art fairs Arns and myself during the Goethe Insti- ents an eclectic mix of both contempo- ask what kind of discursive framework denouncing the use of their artistic anticipation and excitement, due primar- are very important platforms that allow tute’s Advanced Cultural Management rary and ethnographic art. The exhibi- is highlighted in these two connected passport for travel. ily to the 2010 FIFA World Cup, hosted by both emerging and established artists to Training programme in Germany. Un- tion is aligned to also commemorate the yet disparate presentations? South Africa—and to a large extent, the showcase their works to dealers, curators, earthing the phenomenal significance 50th independence anniversary of the city of Johannesburg. As expected, the collectors and galleries. It is also a good of an artistic action in Eastern Europe in Democratic Republic of Congo as well fair certainly benefited from the influx of platform for developing and/or attracting the early 90s, to the lives and conscious- as 16 other African countries including tourists with people visiting from around new audiences—giving visitors with little ness of thousands of Nigerians in con- Nigeria. the world. knowledge of the arts the opportunity to temporary Africa has been a fascinating engage with an array of artistic styles, and multidimensional undertaking. CCA,Lagos was one of the participating Dealing with some of the logistics from methodologies and content. The galleries eight contemporary art organisations the Johannesburg end, I became aware are equally presented with opportunities The project facilitated an opening up based on the continent. CCA,Lagos’s of many of the challenges that might pro- to attract new collectors and perhaps even of context and of shared and conflict- presentation focused on knowledge hibit other galleries on the continent from discover new talent to add to their stable ing interest and experience. Nigerian production through the presentation of participating in the fair. The high cost of of artists. For participants, ultimately the Citizens, many from the artistic com- a collection of books on African history, moving works of art from one region of primary concern is on one hand more vis- munity, and Nigerian/NSK Citizens took art and culture in an attempt to engage the continent to the other is a major chal- ibility, and on the other the financial gains, part in research interviews aimed at the audience to think about who writes lenge, as is the cost of transportation for which could go some way to covering their interrogating the complex relationship and who publishes what we read and artists. There are other costs like framing, expenses. If these two objectives are not that many contemporary Nigerians have consequently who controls our knowl- 1 View from the opening night of the 3rd Joburg Art renting furniture, paying for the booth, ac- achieved than it will certainly be difficult towards their national identity. The in- edge base. CCA,Lagos also exhibited Fair, 2010. Photo: ArtLogic commodation, telecommunications and for organisers of the Joburg art fair to con- 2 terviews revealed a zealous pride and 2099, a series of map works by Jude 2 Viewer exploring the CCA, Lagos Library instal- so on. All of these costs have to be put into tinue to attract participation from around equal frustration with the current state Anogwih, in addition to Onile Gogoro, a lation at the Geo-Graphics exhibition. Photo: CCA, consideration as well as contingent costs. the continent. These are among some of of affairs coupled with a desire to travel Lagos. photographic and video installation by and participate in a global community. What follows then is to ask, is it worth it? the issues that the organisers and par- 3 Curator Loren Hansi Momodu, Miran Mohar, Inke Iria Ojeikere. How beneficial is it for galleries and art ticipants continue to grapple with as they Interviews were installed within the gal- Arns and Borut Vogelnik in discussion on day two of lery throughout the symposium to offer the symposium ‘NSK State: The Nigerian Connec- organisations to incur these costs for a look for happy compromises for all. tion.’ Photo: CCA, Lagos. three-day outing at the Joburg art fair?

With each exhibition and project that I further with the exhibiting artists in order have resulted in new professional as- have managed I have experienced new to develop new bodies of work. The work sociations, which we believe will grow Professional Development challenges and accomplishments. Work- produced (and subsequently exhibited) as we continue to collaborate on future ing with such talented artists and provid- during the Prêt-à-Partager workshops— programmes such as the upcoming Ou- ing a platform for dialogue is always an ‘Magic Sneakers’ and ‘Who’s Wearing mou Sy Kings and Queens exhibition important aspect of the role. The most My T-Shirt’—was so strong and skillfully which will, in December 2010, end our successful area of each project remains executed that many viewers initially be- Art, Fashion and Identity theme in grand the facilitation of the workshops. Both lieved this to be the main exhibition. style. exhibitions, Yolaçan’s Maria and Prêt-à- Partager included programmes that al- The relationships that were developed lowed members of the public to engage during the workshops and exhibitions

On Writing Ronke Adeola seum. Due to the somewhat oppressive 2 history of ethnographic spaces, it is al- ways contentious for an artist of an eth- nic minority to feature their work in such contexts. My research saw me engaging with many relevant texts and theories and I was particularly drawn to work by the art historian Sylvester Ogbechie and the artist Sokari Douglas Camp.

Before I began wading through various academic and canonical texts, I decided to educate myself on Anatsui’s career. 1 I spent a lot of time reading various publications and referencing the abun- Who, What, Wear? artist Pinar Yolaçan. The artist, during laborated to organize and implement a dance of images of his work—focusing Oyinda Fakeye her twelve-month residency in Itaparica, string of workshops and exhibitions as my attention on his recent output with Brazil, created portraits of Afro-Brazilian a part of Prêt-à-Partager, a transcultural his monumental metal drapings. Before women dressed in garments that subtly Working within the arts I am constantly project that focuses on art, fashion and I knew it, I was quite impressed and reference Romantic era regality. Yola- asked, “Are you an artist?” My response sports. Possibly one of our most elabo- inspired by Anatsui’s complex working çan subverts these notions of grandeur typically takes one of two forms either: rate exhibition projects to date, Prêt-à- methodologies and how his works give by exploring the sartorial potential of ‘I am very good at drawing stick figures’ Partager featured two successful work- way to multiple readings. animal flesh—fusing it with the hand- or ‘I can’t draw to save my life’. But the shops, and two exhibitions that were sewn garments that dress her sitters. truth is I am an artist, I just sketch in a displayed in three venues: The Yaba Col- Ultimately, this experience has enabled These works first struck a chord with me different way. I see the body as a life- lege of Technology’s Yusuf Grillo Gallery, me to discover the many joys of the when we featured them in the exhibition sized drawing pad with an infinite supply The African Artists Foundation (AAF) gal- research process—especially the work In The Light Of Play at JoBurg Art Fair in I have spent the past few months at Bisi Silva, I contributed notes and ideas of blank and lightweight leaves where I lery as well as CCA, Lagos’ space and involved in adopting an informed posi- early 2009. Yolaçan’s work lost none of CCA, Lagos developing my critical writ- concerning the various ways we might render daily expressions in three-dimen- in the library. This exhibition was impor- tion and learning to think critically. As I its provocative splendour during its La- ing skills, taking the rule ‘read as a writ- engage Anatsui’s practice within the sions. I sketch with the rigour of an tant to me on many levels, especially continue my work at CCA, Lagos I look gos showing earlier this year. This was er and write as a reader,’ as my point context of ethnology and museum stud- architect and act with the passion of a considering that in November 2008 I forward to having more opportunities to the first time that many Lagosian view- of departure. I have been spending a ies. performance artist. Therefore, it is of no represented CCA,Lagos at the Prêt-à- work on my writing skills and to contin- ers had encountered Yolaçan’s work, lot of time reading texts, making notes coincidence that in my second year at Partager workshop in Dakar, Senegal. It ue exploring my research interests. and thus the reactions were mixed—but and generally taking advantage of as Much of my research was centered on CCA, Lagos I was given the responsibil- was here that I was able to fully realize few could deny the power that Yolaçan’s many writing opportunities as possible. the representation and presentation of ity of co-ordinating the yearlong focus on the discursive potential of fashion, and portraits manage to evoke. the various methods I could embrace as I recently had the opportunity to contrib- contemporary African art within ethno- Art, Fashion and Identity. ute to a text that discussed the artistic graphic institutions. Specifically, I was a way of turning potential into reality. For 1 Installation View of Prêt-à-Partager at the Yaba From May 31st - July 18th the CCA, Lagos practice of El Anatsui for the publication interested in the problems that result The season began in April with Maria, me, co-ordinating the Prêt-à-Partager College of Technology’s Yusef Grillo gallery. Photo: family welcomed a group of talented art- accompanying his upcoming exhibition from such positioning, and how the eth- Michael Lapuks a solo-exhibition of photographic work project in Lagos is evident of this kind ists based in Germany to Lagos. We col- at the Museum of Ethnology in Japan. nographic museum differs radically from by the Turkish-born, Brooklyn-based of knowledge. 2 El Anatsui. Adinkra Sasa, (2003) Installation View. Working as a research assistant with that of a contemporary art gallery or mu- Aluminum and Copper Wire. Courtesy the Artist.

CCA,Lagos / Newsletter issue No.10 / September - December 2010 3 Artist Focus: Otobong Nkanga Otobong Nkanga is a visual artist and performer working in variety of media including installation, photography, draw- ings and sculpture. She often uses her body and voice to articulate her reactions to, and the implications of, the way we act in different environments and contents. The resultant works, inspired by her observation and the sensations of her

surroundings, depict the social developments and changes in our environment. In essence she puts forward the per- 3 sonal and the autobiographical so as to accentuate and expose the frailty and instability of man in his environment. >> Another work, Tropicology (2010), is a more recent performance using photogra- phy, text and sculpture. Here the performance is an important part of the process for Otobong Nkanga (b. 1974, Kano) began her art studies at the Obafemi Awolowo University in Ile- Ife, Nigeria and con- the final installation. The term tropicology comes from the fusion of “Tropical” and “Ecology”. I have been looking at forms of architecture specific to tropical regions tinued at the Ecole Nationale Supérieure des Beaux-Arts, Paris, France. She was at the residency program at the Rijk- like the emergence of ‘Tropical Architecture’ and the climate controlled environments, sakademie van beeldende kunsten, Amsterdam, The Netherlands. In 2008 she obtained her Masters in the Performing which emerged in the 1950’s. In the 1970’s my family lived in one of these tropical architectural houses in Yaba, Lagos and I could remember certain colors that are Arts at Dasarts, Amsterdam, The Netherlands. definitely linked to this particular place and time. The performance of this piece is about my memory of the color and the installation is referring to this tropical archi- Nkanga has exhibited widely internationally. Recent shows include: Animism, Extra City Kunsthal and M HKA Museun van tecture that is specially made for this region of constant heat and high humidity. The fusions of media has become more and more necessary in the work I make because Hedendaagse Kunst, Antwerpen, Belgium,(2010). Diagonal Views, Nieuwe Vide, Haarlem, The Netherlands,(2009). it creates a certain kind of layering of complexity of thoughts and since I delve into Re/presentaciones: ellas, Casa Africa, Las Palmas Gran Canaria,(2008). Flow, Studio Museum Harlem, New York (2008). different aspects of a subject the layering of different mediums enables the work to have multiple narratives and different points of entry. Africa Remix, Düsseldorf-tour. Snap judgments: New Positions in Contemporary African Photography, New York-tour.

She has also participated in the Sharjah, Taipei, Dakar, São Paulo and Havanna Biennials. BS: Architecture has been an important aspect of your practice also, in many ways as an extension of your interests in environments. She currently lives and works in Antwerp, Belgium. ON: Architecture reflects, in so many ways, how different cultures have influenced each other. Looking closer at different aesthetics—like Brazilian Yoruba architecture BS: The environment is something that that we find in the western part of Nigeria, colonial houses or even today’s modern figures prominently, in one way or an- architecture made of reflective of glass—we realise that all of the these structures other, in much of your output. Could you narrate different histories of specific time periods. talk more about your interests in the environment, specifically in Nigeria, but For example in the series Dolphin Estate (2008), which are photographic images of also generally, and the various process- the residential flats in Lagos, I witnessed the fast paced construction of the prefabri- cated slabs transforming overnight into slabs in the early 90’s. In almost 2 decades es involved in exploring these ideas? the original architecture began to reflect the symptoms of fast growing society. In this ON: What actually fascinated me was way my interest in how architecture evolves is also linked to how the environment the rate at which the Nigerian land- is treated. The structures are built and then, what’s next? The idea of preservation, scape was evolving. Buildings that were ultimately, seems to be incompatible with the way we use and consume. In the series built a few years back suddenly seem of 18 drawings Delta Stories (2005-2006), which is narrated in fragments, I place an to decay so fast and next to the build- emphasis on gestures, memories, disillusion, fears, hope and the absurdity of human ing, a new structure seemed to sprout beings in relation to the environment. out of nowhere. This fast acceleration of construction also exposes, with such The drawings “Delta Stories: Landscapes I –II” portrays an aerial view of an imaginary contrast, the decays and ruins of the landscape going through a metamorphosis which gradually overflows with water and society. in a later stage with a spillage of crude oil. These drawings points to a two-way state of mutation in the delta zone: The geological and the man-made course of development. My earlier photographic works marked a The stories are told with the juxtaposition of one image next to the other and the titles period for observation and documenta- of each drawing gives another insight of the narrative. The changing landscape I am tion, but also created a path or a way interested in is the oil rich delta region in Nigeria, which has undergone ecological, of thinking that led me to look for other political and social shift resulting to conflicts, violence and ecological damage. ways of working, it help me to re-concep- tualise the two spaces I was living in and 4 1 working between—Europe and Africa. These two spaces were joined by a third Bisi Silva: I am primarily familiar with your earlier photographic works and drawings, space which was my personal story and a fourth space which is the domain of the so it was interesting for me to learn that you not only work across media, but also over “other,” “viewer” and/or “spectator.” prolonged periods of time. It seems that much of your focus lately has been on the performative with works ranging from State of Amnesia (2003), Tropicology (2010), It has been a very slow process and it is something that I am still engaged with as and even other ambitious projects such as your reenactment of Allan Kaprow’s Bag- I attempt to discover different ways of working; different ways of dealing with com- plexity of the personal in relation to the everyday local/global and universal issues gage (1972. 2007/08). Could you speak more about these transitions? of our society and environment. Using different media enables one to engage with Otobong Nkanga: I have always been interested in experimenting with different media the same subject but from different angles and perspectives. This stimulates and to find the medium that fit with the ideas, my emotions and way of thinking. It is, there- motivates me allowing no room for complacency with certain processes and ideas. I fore, important that the work is able to effectively transmit the thoughts and layers am interested in exploring different forms and methods of working. Thus my practice that evolve from my research. In my earlier works I was very interested in documenting naturally oscillates from photography to performance to drawings or sound and vice spaces, especially ruined or abandoned spaces and places undergoing change. In the versa. photographic series such as Road Series: Toll Gate to Ibadan (2001), Stripped Bare series (2004) and also Emptied Remains (2004) the observing and documenting pro- cess actually happened in a natural way. Each time I went back to Nigeria, I had the BS: Could you elaborate about some of the works, specifically how they have en- urge to photograph the changing landscape in order to arrest the moment—to keep a abled you to engage with these ideas? certain memory before it changes. ON: Examples of this embrace of mixed media can be found in many of works like Ar- BS: Your photographic practice over the years has been particularly performative in rested moment before the state of Amnesia crops in (2006), which took place on 24 – nature. I am thinking particularly about the Alterscape series. How do you see the For example, my reenactment of the score of Allan Kaprow’s Baggage (1972) involved 25 November 2006 in Fuerteventura, Canary Islands. Sitting on top of a wooden chair relationship between performance and photography in your practice? the displacement of sand from one place to another so I decided to connect this with a ladder on the edge of the roof of the old manorial house “La casa del coroneles, work between two continents – Europe (where I live now) and Africa (where I come Fuerteventura,” I observed the landscape and photographed at certain intervals the ON: In 2005 I decided to do my Masters at Dasarts, Netherlands to be able to delve from). Taking sand from The Netherlands to Lagos and then sending back the sand images of three prominent features in the scenery, the mountain, a palm tree and the more into the aspects of performance but also taking in account my visual art back- from Lagos to The Netherlands was performed and registered using sound, video and old ruined house with the cluster of palm trees. The printer connected to the camera ground. In this way I was able to explore aspects of staging sceneries and the notion drawings. The piece was then presented at different locations. With the work “Bag- printed out postcard format images of the landscape. These photographs are signed, of narratives. The 3 years of exploration broadened my way of positioning my work and gage” I wanted to find another way to narrate the experience I had without making a numbered and then given out to the public. A total of 340 images were photographed the staging of different perspectives—be it in photography, drawings, performance or documentary film or photographs. The use of different media seems the best way to and given out to the public. Each image of the three structures has slight differences installation. narrate the experience. due to the changing light, moving cars, clouds, and wind direction that occur as the photographs are taken. >> The works “Alterscape Stories: Uprooting the Past” (2006), Alterscape Stories: Spilling Waste (2006) and Fattening Room (1999) are quite clear examples of my combining performance with photography. In these works the act happens without the specta- 2 tor or audience, they are mainly performed in front of the camera. I perform various sequences that are able to sum up the subject matter or narratives of issues I am dealing with in the work.

Fattening Room (1999) was performed specifically to use the images taken from the act to make one image. The final photographic work is a collage of 18 images to make one final piece. The first part of the work was based on research of traditional African architecture. I went to Ile-Ife and visited a lot of the houses made out of mud, paying particular attention to how they were constructed with mud and straw. The work refers to the fusion of influences from African and western culture which has enriched and created a form of hybrid of what we are today. In that sense my starting point with the work is based on architecture and spaces, which then expand to other aspects of how we use, explore or exploit it.

1 Otobong Nkanga. Arresting moment before the state of amnesia crops in (2006). Live performance pre- sented at the 1st Biennial of Architecture and Landscape, Canary Islands. Courtesy the Artist. 2 Otobong Nkanga. Tropicology (2010). Photography, Performance and Sculpture, 25 x 52 x 170 cm. Courtesy the artist and Lumen Travo Gallery, Amsterdam, The Netherlands. 3 Otobong Nkanga. Dolphin Estate (2008). Lambda Photograph, 90 x 120 cm. Courtesy the artist and Lumen Travo Gallery, Amsterdam, The Netherlands. 4 Otobong Nkanga. Alterscape Stories: Spilling Waste (2006). 2 C-Print Photographs, 100 x 100cm each. Courtesy the Artist.

4 CCA,Lagos / Newsletter issue No.10 / September - December 2010 Portfolio@CCA,Lagos Portfolio@CCA,Lagos is an initiative developed to en- our wide network of curators, writers, artists and other The Portfolio@CCA, Lagos project supports CCA, Lagos’ courage and facilitate interest in contemporary art from art professionals, we are pleased to introduce to a wide yearly programming. Africa by presenting the work of emerging and estab- audience exciting new works by artists from across the To purchase any of these works or for additional infor- lished artists. We hope that this initiative will stimulate continent. This issue presents affordable and unique mation, please contact [email protected] the new, but growing generation of collectors on the works by four dynamic and innovative artists and cul- continent. Considering the increasing global interest in tural producers based in Nigeria and abroad. contemporary art from Africa, and taking advantage of Karo Akpokiere Otobong Nkanga Akpokiere’s drawings are indicative of accessible and visible. In this way, the “Filtered Memories” are a series of his desire to combine different ‘cultural’ products represent the intersections be- drawings based on selected memories elements in order to create art that is not tween art and fashion, with the result be- of the artist. Nkanga filters and selects only universally appealing but also reflec- ing art that is functional and wearable. moments in her childhood and teenage tive of his interests in textile motifs, the years that had a certain impact on her graffiti aesthetic, t-shirt graphics, sneak- The Centre for Contemporary Art, Lagos life. These memories refer to the loss of ers, advertising, geometry and popular has commissioned Akpokiere to create innocence, home, security and of loved culture. The artist transfers his designs— theses limited edition tote-bags in cel- ones. The titles of the drawings are of im- which are created using either analogue ebration of our 3-year anniversary. portant significance that help the reader or digital techniques—onto everyday ob- to place each event in a specific place jects like tote-bags, t-shirts, badges etc., Price on Request. and time. Experiences and memory are as a way of tapping into the potential of frozen in time, giving a glimpse into the these objects to make his drawings more artist’s personal experiences, both in her homeland and Europe.

Otobong Nkanga “No Be Today Story O!” The Book “No be today story O!” is a Yinka Shonibare MBE ‘Singer-stitched’ brochure divided in 4 chapters.

Yinka Shonibare, MBE. Climate Shit Drawing 1 (2008). Four-colour litho- ‘Climate Shit Drawing 1’ is Yinka Shoni- logue, published by Prestel, celebrating graphic print with silkscreen glaze, col- bare’s first limited edition print. A litho- the artist’s mid-career retrospective, laged with fabrics and foils and die cut, graph with unique hand drawn and cut which took place recently at the Brook- 50.4 x 34.4cm (19 3/4 x 13 1/2in). Each chapter contains 10 colour prints of drawings by Otobong Nkanga. This book is fitted in a silkscreen translucent white enve- fabric and foil collage, the print is signed lyn Museum, New York and at the Na- Edition of 200. lope. / This is a .docs//M geopolitical Art Edition No. 1 / Co-edition Violet Stichting, Mondriaan Stichting and Nieuwe Vide Artspace. and numbered in an edition of 200. It tional Museum of African Art, Smithso- N120,000 (excl. p&p.) / No of Edition: 470 prints, N6500 (excl.p&p) / 30 prints special edition containing an original drawing 19 x 26.7 cm each. is accompanied by the sumptuous cata- nian Institution, Washington D.C. Price on Request Courtesy Stephen Friedman Gallery. Nigerians Behind the Lens Nigerians Behind the Lens is a limited The book will be printed in a limited edi- The project is organised by the designer edition art photography book featuring tion of 1000 signed and numbered cop- and brand consultant Ebi Atawodi of the work of 9 Nigerian photographers. ies, creating a collectible piece of printed Inden Publishing. The book, with 194 pages and 122 high matter. The launch of the book will fea- N35,000 (excl. p&p.) quality images, has a mandate to provide ture a private exhibition of 9 large format a channel for identifying and celebrating photographs, one from each of the fea- For more information, visit: visionary contemporary photography tured photographers in the book. http://www.nigeriansbehindthelens. from Nigeria. The accompanying website Limited edition box sets containing 9 com/ also provides a digital channel for show- prints of the exhibited photographs are casing upcoming photographers. also available. Jazzhole Records Jazzhole Records is an independent label based in Lagos Returns highlights the varied inflections and nuances of the palm-wine highlife dedicated to harnessing and preserving the vintage trea- musical genre, percolated by dance sures of African music. It focuses on traditional folk and and jazzy infusions that flaunts its rap- roots music that have been produced in West Africa in the port with contemporary grooves and styles. Sina Ayinde Bakare’s Inu Mimo past since the early 40s. In so doing it seeks to pioneer a re- expounds the flavours of faaji music newal as well as preserve an important musical heritage that and ushers this across with melodies of owambe and an instrumentation profile has influenced the modern trends that evolved as a result of that is modern and chic. this music. For more information or to purchase The Jazzhole label has released three tion”, a sound that uniquely blends the these CDs, please visit Jazzhole Records notable CDs from seasoned artists – early manifestations of Juju and palm at 168 Awolowo Road, Ikoyi, Lagos or Easy Motion Tourist Seni Tejuoso’s , re- wine music, and careers through twelve contact: [email protected] traces a time-honed musical form that tracks that parade influences which touches on the evolution of “Toy Mo- include Calypso. Fatai Rolling Dollar’s

CCA,Lagos / Newsletter issue No.10 / September - December 2010 5 US Report: ICI Curatorial Tour Art, Fashion & Identity Bisi Silva As a part of our yearlong focus on the intersections of art and fashion, we invited the emerging Lagos-based art- ist Karo Akpokiere to re-interpret a work from his archive of drawings. Here the artist chronicles his process of 1 translating drawings into functional design. Akpokiere presents documentation, in the form of a mini-visual essay, of the stages involved in rendering his drawings onto fabric through the silk-screening process. He discussed his practice with Antawan I. Byrd.

1 2 6 AB: You have printed your illustrations on everything from clothing, badges to furniture. How do these surfaces differ from traditional paper support in terms of conveying your ideas, etc.? KA: It’s about the secondary function (you sit on chairs, wear badges and t-shirts) and the ‘non-art’ nature that these surfaces have. Working with paper provides a means to an end—with the In May of this year I was invited by the sentations by discussing and presenting end being a T-shirt, or a piece of furni- New York-based organisation Indepen- the work of several interesting and tal- ture. These surfaces therefore become dent Curators International (ICI) as their ented emerging artists working on the the ‘new’ support for the drawing. Most inaugural touring curator. Instead of continent. people equate paper to art and the cre- touring solely exhibitions/objects, ICI It seems to me that in spite of the quan- ative process, but working on surfaces wanted to move curators/ideas across tum leaps that have been made, there other than paper allows me to present For this feature, Akpokiere collaborated the US. My intensive schedule included still remains a fairly big chasm between art to people in a functional, unobtrusive with the printer Hakeem Adeyemo on the silk-screening; artist/photographer speaking engagements at different kinds what is known, what is presented in the and commercially accessible manner Adeniyi Odeleye to document the pro- of institutions, ranging from the Chicago West, and the daily realities and activi- that resonates with everyday life. cess; and he worked with fashion design- Art Fair to the Clark Institute, from the ties of artists and art professionals in AB: Can you explain the motivation be- er Kehinde Okunoren in creating a sam- Newark Museum to the joint programme many African countries. The questions I hind the featured illustration? AB: You currently run the (virtual) artistic ple garment that highlights the sartorial by the Museum of African Art/Museum was asked seemed to indicate a quest KA: The illustration was created in 2004 space known as The SeekProject. Can possibilities of his drawings. This project of the African Diaspora (MoCADA). My for a different kind of understanding and it references the quirky, fun person- you talk more about this, what’s the aim was facilitated by Oyinda Fakeye. trip also included visits and talks at the and engagement with the continent. ality of a friend who incidentally commis- of the project? AB: What are you currently working on? New Museum in New York City and the One that, for want of a better word, pro- sioned the artwork. It’s a hand-drawn What’s next? www.seekproject.com Menil Collection in Houston. Additionally, vides a ‘truer’ picture of artistic produc- KA: The SeekProject serves as a platform mix of bold lines of varying widths, text KA: I have an ongoing daily drawing proj- I had the opportunity to meet individual tion and discourse in Africa—one that for me to make and display work and and characters seamlessly ‘woven’ to also collaborate with other creatives. In ect at www.theseekproject.wordpress. curators, artists and even collectors. bridges the gulf of knowledge that exists. create a rich, neutral-coloured composi- the near future the project will expand to com, where I attempt to post a drawing The questions included the role of art tion that works wonderfully well on fabric display work by other artists. It is about daily. I am exploring the possibility of ex- It was an important and illuminating proj- education—what kinds of spaces exist? or as a standalone art print. The text and finding ways to increase visibility and ac- hibiting the drawings when I reach the ect especially after a 15-year absence Who are the artists? Most especially, imagery present in the drawing take in- cessibility through self-initiated projects 365 drawing mark in 2011. I am also from the US I was taken aback yet pleas- who are the young artists? What kind of spiration from the graffiti art and music and commissioned works. It is a way to working on a new commissioned work, antly surprised by the level of engage- audience comes to CCA, Lagos? Who are elements of popular culture. add more art to the world, and also a which is a 2011 diary project for 10-15 ment it afforded me. During my visits the funders? What is the role of corpo- way to inspire and empower people to year olds. to different cities and institutions, I was rate organisations? Which art magazines create. amazed by the level of interests in con- or journals are available? What role do temporary art activities on the continent. the newspapers play? Are there any art The import of my presentations focused critics? What are the main themes and on my curatorial trajectory especially my issues being discussed? These ques- experiences in the UK, my relocation to tions demonstrated that no real dialogue Lagos, and the challenges and fulfillment can be developed without knowledge of of setting up an independent art space the context in which art is practiced in and library. I culminated many of my pre- the different African countries. 2

3 4 5

1 Original artwork (scan) by Karo Akpokiere 5 Printed Fabric 2 Artwork printed. 6 Sample garment designed by Kehinde Okunoren. 3 Silkscreen Preparation All Photographs © Karo Akpokiere and Adeniyi Odeleye. 4 Exposed Screen Invisible Borders 2010 3 “Invisible Borders” is photographic proj- Ford van across West Africa en route for Aghana Nwobu, and the project’s ect that is organised and executed annu- the Dak’Art Biennale of Contemporary founding member Emeka Oker- 1 Bisi Silva in conversation with curator Christy Clarke at Newark Museum, New Jersey, 2010. ally by as many as 10 Nigerian photog- African Art. The stops along the way in- eke. raphers. The project is trans-African in cluded the Republic of Benin, Togo, Gha- For IB 2011, the collective tenta- 2 Studio visit with artist Kara Walker and curator Eungie Joo, 2010. Photo: Bisi Silva its orientation, and sees the participat- na, Burkina Faso, Mali and Senegal. tively plans to head toward East ing artists collectively taking road trips Africa—with Nairobi or Addis Aba- across Africa to explore and participate Although IB is not an initiative with ba being potential destinations. 1 in various photographic events, festival fixed participants, the founding- par For more information, to see im- and exhibitions. The emphasis is pri- ticipants were the same as those on ages created during the trips, or marily on the individual and collective the 2010 journey with only one new to read real-time notes from each journey of the participating artists who, addition: Amaize Ojeikere, Ray Daniels journey, please visit the Invisible during their short or brief stops in capital Okeugo, Unoma Geise, Lucy Azubuike, Borders Blog at www.invisible- cities, create photographic works that Charles Okereke, Chidinma Nnorom, Ad- borders.blogspot.com often reflect their individual approach to enike Ojeikere, Uche Okpa-Iroha, Chriss engaging with local artists and art prac- titioners. 2

Underpinning the project are several ma- 1 Amaize Ojeikere. Self Portrait of the IB 2010 Team (2010). jor aims namely: to tell Africa’s stories, 2 Uche Okpa-Iroha. Finding Rest KNUST, Kumasi (2010). by Africans, through photography; to en- 3 Charles Okereke. Ghanaian Flag (2010). courage exposure of upcoming Nigerian Photos: Courtesy Invisible Borders Trans-Africa Photography photographers towards experiencing art Project 2010. and photography as practiced in other parts of the continent; and to develop a cultural network that encourages and embraces trans-African artistic relation- ships within the continent.

The first trip took place in November 2009 Lagos to Bamako for the 8th Bama- ko Encounters Biennale of Photography.

From April 27th to May 16th 2010, the 2nd journey saw the photographers traveling over 3000 miles in a rented 14-seater

6 CCA,Lagos / Newsletter issue No.10 / September - December 2010 In this recurring section we invite artists, critics, curators, and other cultural professionals to contribute their thoughts Thinking Out Loud and/or comments on specific aspects of contemporary art that interests them. Contemporary African Art—Language, Dialect or Accent? Antawan I. Byrd best way to deploy such knowledge. The Let us accept, for example, that the sphere the Centre for Contemporary Art, Lagos to vironment, let alone in different regions of data, reflect on my experiences and plan impetus for my project was borne out of of contemporary art, with its international independent writing, doing studio visits, the world? Surely, this is a concern related for future engagements with contempo- a different, yet inextricably related, set of exhibitions and transnational art practices, conducting interviews, interacting with art to the field of contemporary art generally. rary art practices in Nigeria. concerns about the field that we call con- constitutes a global language. Then we students, visiting exhibitions, giving presen- temporary African art. Prior to beginning might consider contemporary African art tations, and traveling in the country. Many Thus there is a need for more attention to Jelili Atiku. Agbo Rago (Performance) Ejigbo, Lagos. 2009. Atiku’s Agbo Rago, the first performance piece I my research in Nigeria, I was completely to be a dialect of this language not unlike of these projects were also extended and individual and specific artistic practices. saw during my time in Nigeria, is a precise example of overwhelmed by the abstract ways in which other regionally specific fields like contem- framed by trips to other African cities such And it is this concern that informs my cur- an artistic project that cannot be understood properly the field had been—and still is, in many porary Asian art. Therefore, following this as Accra, Bamako and Johannesburg. rent research, as I attempt to organise without a locally inflected reading—one that prioritizes an understanding of the complexities of Nigeria’s pres- ways—engaged. This abstraction I speak of hierarchy, contemporary Nigerian art can ent sociopolitical climate. Photo: Antawan I. Byrd is quite similar to the abstract characteris- be thought of as an accent—one that, at Considering the logic of linguistics, it fol- tics of a language when compared to the least for me, requires direct engagement lows that dialects and accents are typically particularity of its dialects or even more, with local speakers in order to be properly concentrated in particular geographic re- the specificity of its accents. (Consider for comprehended and coalesced into larger gions. And while dialects can be defined by example the relationship between English conversations on contemporary (African) certain vocabularies and syntaxes, accents as a language, American English as a dia- art practices. are, however, rooted in the particularities lect, and a southern accent.) of pronunciation. The dialect of contem- My research was precisely about talking porary African art is spoken by artists all The Library I wondered about how this dynamic plays and listening—about having conversations over the world who are united, in one way One of the most challenging aspects of my out in terms of contemporary artistic pro- with artists, curators, writers and other or another, by their affinities to the conti- CCA,Lagos has set up one of the fastest growing independent libraries in Africa, Fulbright project concerned my efforts to duction, and how it might enable me to individuals in the cultural sector. These nent. Yet how are we to deal with the real- particularly in Nigeria by specialising in the visual arts and the creative sector in understand, on the one hand, the present develop new ways of conceptualising the conversations took on various forms, rang- ity that every artist speaks with a different conditions of contemporary art practice in general. The library contains over 2500 books, catalogues, magazines, journals, as challenges related to my areas of inquiry. ing from the many projects I worked on at accent—even when they’re in the same en- Nigeria, and on the other—to figure out the well as a growing collection of art and artists videos. It is gradually developing into an important artists archive and educational facility for artists and specialised stu- dents, especially at graduate, post graduate and doctoral level. It is also proving to be a invaluable resource for local/international researchers and other professionals in the cultural sector. Cosmolocalism: The Audacity of Place The amount of materials that have been added to the library through purchase and donation has grown in leaps and bounds over the years, making the CCA,Lagos li- Ruth Simbao brary a veritable treasure trove. In our efforts to encourage membership and pro- the Global South. These movements to mote readership, we have restructured and reduced our membership fees. These smaller places (for example Chinese gestures reflect our profound commitment to knowledge—despite adequate provi- people moving to Lesotho) mean that sion by local statutory bodies. cosmopolitanism is no longer simply the domain of the large city, for in a globalis- ing world the potential of cosmopolitan- CCA,Library is a reference resource only and unfortunately does not have the ism in ‘small’ places forever increases. facility for lending materials. Library resources are available only through mem- I say ‘potential’, for there is always the bership. Additionally, members are also required to pay daily usage fees. tension between positively engaging with newness and resisting it in the form of Membership Levels xenophobia. (As we know from the exam- Full Member...... N5,000 per year...... plus daily rate N200 ple of Johannesburg, the small minded- Student...... N3,000 per year...... plus daily rate N100 ness of xenophobia or Afrophobia exists (I.D card required) in cosmopolitan cities too). This is the political edge of the new cos- Daily Rate without Overseas Supporters molocal spaces in Africa. While it is a Membership struggle, it is also a positive time of rede- Diamond Donor .$1,000 (Pound/Euro equivalent) fining ‘the local’ for it is (theoretically and Nigerian Resident/ Golden Giver ...... $500 (Pound/Euro equivalent) ECOWAS Citizens...... N500 per day practically) no longer tenable to suggest Silver Supporter ... $200 (Pound/Euro equivalent) that ‘the local’ (the ’small place’ with a Non-ECOWAS Citizens...... N1,000 per day supposedly strong ‘hereness’) is neces- sarily parochial, for its ‘hereness’ is con- stantly being touched. Conversely, it is Frequently asked questions: no longer tenable to suggest that cities monopolise cosmopolitanism. Where is CCA,Lagos Library? Can we order books from you? CCA,Lagos library is centrally located No, we do not sell or order books on behalf of our Whilst rejecting the static, parochial on the mainland. We are 5mins from members. However, members can request books notions of place, cosmolocalism, in a the foot of the 3rd Mainland Bridge and to be ordered for the library – these requests are context in which grassroots political af- 10mins from Ikorodu Road when you subject to approval and available funding. We are filiation cannot be ignored, also rejects turn onto Herbert Macaulay Street. We looking into the possibility of partnership with the aloofness espoused by elite forms are about 5mins from the Alagomeji one of the premier bookshops in the country to of cosmopolitanism in which distance is junction. Use the Domino Diner as your provide an appropriate book ordering service to valourised. Art hubs of the world with an point of reference. The library is located our members. interest in quote-unquote-Africa can no on the 4th floor of 9 McEwen Street. longer justify an aloof attitude towards Do you have only art books? real places in Africa—even the ‘small’ Art that is gathered together under the A characteristic of a cosmopolitan is to Western-driven theories and day-to-day What do I need to join? While the majority of our books focus on art, art places. Transnational and transcultural ‘international’ rubric of ‘Contemporary maintain a certain amount of distance engagements with the vulnerable places Joining the CCA,Library is easy – all you history and critical theory, we do have a limited art events that are based in these cos- African Art’ is generally art that nods from, for example the natal or the na- of national borders, refugee camps, im- need is a passport photo, a completed selection of books dedicated to architecture, molocal African spaces are critically towards the continent, but simultane- tional. A ‘true’ cosmopolitan preserves migration offices and certain spaces of important, for such is an audacious ap- registration form, and payment of mem- fashion, textiles, design, and other related cultur- ously registers a certain distance from a dismissive edge when it comes to the living. While ‘the local’ was once the small proach to place. bership fees. We have a variety of yearly al areas. New books are constantly being added the place of Africa. Due to the fact that concept of ‘national culture’ or culture place (the ‘little here’ as opposed to the membership options ranging from full to our collection so do frequent the library to dis- the discourse is still largely driven by the of a specific African region. A certain grand everywhere else), it now becomes Ruth Simbao is Associate Professor of membership at N5000 to student mem- cover our recent arrivals. cosmopolitan art centres of the world amount of detachment is required. To the everywhere else passing through, African Art History and Visual Culture at bership at N3000 to N1000 a day for (which persist in the West), any link that be cosmopolitan or to be transnational touching upon, effecting and transform- Rhodes University. casual members. See more information When is the library open? aligns itself too closely with the continent (at times there is an overlap) means that ing the ‘here’ until its ‘hereness’ almost above. We are open from 10am to 6pm, Monday to Fri- of Africa (the actual continent), runs the one must not affiliate too strongly with disappears, and it becomes a cosmolo- day, and Saturday by Appointment only. risk of being stigmatised as parochial or any particular place. cal space. It is not just the diaspora to The library is not open to the public on Sundays as a regressive attempt to reterritorialise the West that engenders transnational Visit today and and on public holidays. culture in a transnational age. In the dis- Even if, theoretically, an affiliation with and transcultural attitudes, but it is Maurice Mbikayi’s performance “Voices” at the Spier expand your world! course of contemporary art, it is auda- place might be viewed, in today’s world, also the new diasporas within Africa, as Contemporary in Cape Town (2010) speaks of vulner- as regressive, politically place does mat- ability in the face of xenophobia as well as excitement cious, these days, to suggest that Africa well as the diasporas to and from other and possibility in a new, potentially cosmolocal space. is an actual place! ter, for there is an incompatibility between places, such as China and spaces within Photo: Ruth Simbao. Centre for Contemporary Art, Lagos 9 McEwen Street, Sabo, Yaba, Lagos, Nigeria. platforms exist for artistic practice that Imagined State is an exhibition that T:+234 702 836 7106 E: [email protected] W: www.ccalagos.org strays from the conventional and the brings together for the first time works Now Available! conservative. In an intransigent patriar- by twelve established and emerging art- Membership Application Form chal culture in which sexism is prevalent ists of different cultural, geographic and and in which homophobia is legalised, social backgrounds from Nigeria, Africa, Name Publications from the Centre few if any artists have presented com- and South America. for Contemporary Art, Lagos plex, provocative works on the body and Participating artists include Jude Anog- Contact Address sexuality the way Azubuike and Muholi wih, Lucy Azubuike, Uchay Joel Chima, have. Two young African women working Luc Fosther Diop, Bouchra Khalili, Van- Like A Virgin… on the continent, pushing boundaries, essa Padilla, Thando Mama, Grace Ndi- Lucy Azubuike confronting taboos and challenging ste- ritu, Emeka Ogboh, Berni Searle, Aicha Phone GSM & Zaneli Muholi, 2009 reotypes, in essence expressing them- Thiam and Kemang Wa Lehulere. Curat- This fully illustrated catalogue ac- selves and their lives in a way few of ed by Jude Anogwih and Oyinda Fakeye. Email companies the two-person ex- their predecessors have done before. hibition of photographs by The exhibition catalogue features es- The publication features insightful texts, Occupation Lucy Azubuike and Zaneli says by Bisi Silva and Christine Eyene. both in English and French, by Krydz Muholi. Curated by N1,500 or $15.00 (excl. p&p) Ikwuemesi, Miguel Petchkovsky, Goddy Nationality Bisi Silva. Leye, Solange Farkas, an introduction by The idea of “Like Bisi Silva and an afterword by Antawan Areas of Artistic Interest A Virgin…” came I. Byrd. Identity: N2,000 or $20.00 (excl. p&p) before the Centre for An Imagined State, 2009 Contemporary Art, Lagos Application Fee became a reality in 2007. It This fully-illustrated colour catalogue was the appropriate catalyst accompanies the first video art exhibi- tion to be held in Nigeria. Identity: An in a context in which few, if any Signature Date

CCA,Lagos / Newsletter issue No.10 / September - December 2010 7 Images from In this mini-project, we Art-iculate present a selection of books, journals, cata- logues and magazines that represent the unique collection of Nigerian- oriented materials in the CCA, Library.

A Nigerian Library

1 ARESUVA 2008 7 Swimming Calabashes 15 Modern And Contemporary Art [National Gallery of Art, 2008] By Emeka Udemba [Art House, 2008] [Emeka Udemba, 1999] 2 Where Gods And Mortals Meet 16 Susanne Wenger- Her 8 By David Frankel Body Beads And Soul House and Her Art Collection [Museum For African Art, New York, By Henry John Drewal & John Mason Edited by Nichola Saunders and 2004] [UCLA Fowler Museum of Cultural Augustine Merzeder-Taylor History, 1998] [Aduni Olorisha Trust, 2006] 3 Master Of Masters, 9 Art In Development Yusuf Grillo 17 The Art of Benin Edited by Paul Chike Dike, Patricia By Uche Okeke By Paula Girshick Ben-Amos Oyelola [Uche Okeke, 1982] [Smithsonian Institution Press [National Gallery of Art, 2006] Washington, D.C, 1995] 10 Sweeping 4 J.D. ‘Okhai Ojeikere, By Sokari Douglas Camp 18 [Douglas Camp Publications, 2006] Objects of Art Photographs By Olu Amoda By Andre Magnin [Oracles Books limited, 2005] [Scalo Zuric-Berlin-Newyork, 2000] 11 Lagos Inside By James-Irora Uchechukwu 19 The Spirit In Ascent 5 [Editions de L’Oeil, 2006] The Yoruba Artist By Bruce Onabrakpeya Edited by Rowland Abiodun, HenryJ. 12 [Bruce Onabrakpeya Ovuomaroro Drewal & John Pemberton III The Triumph Of A Vision Gallery, 1992] [Smithsonian Institution press, By C. Krydz Ikwuemesi 1994] [Pendulum Art Gallery, 2003] 20 Nigerian Images 6 13 The Past In The Present By William Fagg Photos: Courtesy Tolu Ogunlesi and Bisi Silva. Nku Di Na Mba [National Commission for Museums Edited by Paul Chike Dike, Patricia By Louis J. Munoz & Monuments, Lagos, 1990] Oyelola [Spectrum Books Limited, 2007] [National Gallery of Art, 2003] 14 A Legend Of Nigerian Art, 21 Nigeria Magazine Gani Odutokun Quarterly Journal Curated by Simon O. Ikpakronyi & [Federal Nigerian Government, Jacob Jari Nigeria, ca. 1937-1985] *The CCA, In 2008, the Centre for Contemporary Art, Lagos began the Art- We most recently welcomed Chika Okeke-Agulu to CCA, La- [National Gallery of Art, 2007] Library holds many of these issues. iculate lecture series, which aims to increase dialogue, encour- gos. he delivered two lectures as a part of our Art-iculate pro- age debate and stimulate exchange in visual art and culture gramme. On July 25th Okeke-Agulu delivered his first lecture on in Nigeria. By prioritising the provision of an independent dis- the curatorial framework of his most recent exhibition project, cursive platform through our public programmes, we hope to “Who Knows Tomorrow,” Nationalgalerie, Berlin. This talk was actively encourage the development of critical perspectives as followed by the lecture, “The Art and Politics of Ghada Amer,” well as engage with topical issues that affect our society specifi- which was delivered on August 1, 2010. Chika Okeke-Agulu cally as well as the world at large. From 2008-2009 Art-iculate is a Woodrow Wilson Fellow and Assistant Professor of art his- invited to much acclaim Didier Schaub (Doual’Art, Cameroon), tory in the Department of Art and Archaeology, and Center for Solange Farkas (Videobrasil, Sao Paulo) Yacouba Konate (Uni- African American Studies, Princeton University. These lectures versity of Abidjan, Abidjan) Monna Mokoena (MOMO Gallery, were made possible by the Class of ’59 Faculty Fund, Princeton Johannesburg) and Shahidul Alam (Drik Agency, Dhaka). University. Jimoh Ganiyu Akinloye Jude Anogwih

As Bill Hill has noted, the relationship between image and lan- rent concerns of our nationhood and the ambiguous, political guage has informed many of the significant developments of and socio-economic, relationship between the governed and twentieth century visual art practice. Cartoons, satire and il- the government. Cartoons, with their penchant for mimicry, are lustrations have pictorially provided a dynamic basis for experi- both descriptive and representational. And as the saying goes, mentation across the distinct and autonomous fields of literary imitation is the sincerest form of flattery. and visual practice. Jimoh Ganiyu Akinloye is a young optimistic cartoonist who As Nigeria celebrates her 50th anniversary of Independence, draws inspiration from a variety of politically topical issues. For the cartoonist, Jimoh Ganiyu Akinloye, also known as Jimga, this issue of the CCA, Lagos Newsletter, Jimoh reflects on 50 sees the art of cartooning as a valuable medium within the field years of independence by by presenting his take on current of contemporary art. This aspect of artistic practice, maintains state of play in the nation. Akinloye, must be situated in intellectual discussions, as car- toons do not only reflect a society’s political realities, but can Jimoh Ganiyu Akinloye was born in Cote d’Ivoire and moved also be used as a tool to shape public perception. with his family to Nigeria at the age of eight. He is currently studying the History of Art on the postgraduate level at the Uni- Cartoons are illustrated visual strategies that critique its sub- versity of Lagos, where he also obtained a B.A. Degree in Visual jects in a humorously exaggerated ways. They articulate recur- Arts specialising in graphic design in 2008.

Jimoh Ganiyu Akinloye. Rat Killer (2010). Courtesy the Artist.

8 CCA,Lagos / Newsletter issue No.10 / September - December 2010