Tag Archives: African art exhibition

Art Guide: A New Online Exhibition Featuring Nigerian Photography

Uche Okpa Iroha, Jenevieve Aken, Ima Mfon, and Lakin Ogunbanwo are featured in a new group exhibition focused on contemporary African photography.

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The Photographic Museum of Humanity, which launched in 2013 as the first “internet museum” dedicated to contemporary photography, has recently unveiled a new show dedicated to contemporary photography from Nigeria. The exhibition is curated by LagosPhoto founder Azu Nwabogu, the virtual show showcases Nigerian photography and offers insight into the work of a group of emerging Nigerian photographers interested in exploring identity, relationships, and cultural representation in modern society.

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Nigerian Photography includes work by a group of four visual artists who, according to Nwabogu, represent the younger generation of his country’s photography landscape.

On display now through July 20th, the exhibition includes Uche Okpa Iroha‘s photo manipulation series The Plantation Boy. The Plantation Boy is a series of media presentation in which the artist digitally inserted himself into key scenes from The Godfather in order to explore representation, identity and media dynamics of race; self-portrait photographer Jenevieve Aken‘s “super femme fatale” character subverting the patriarchal male gaze in Masked Woman; Ima Mfon‘s The Nigerian Identity, featuring a uniform series of  black-and-white portraits devoid of cultural signifiers to suggest and reject different ideas of what it means to be Nigerian; and Lakin Ogunbanwo‘s The Human Condition, which makes use of the Lagos cityscape as a means of exploring the dynamics of personal relationships.

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Nigerian Photography, curated by Azu Nwabogu, and featuring the work of Uche Okpa Iroha, Jenevieve Aken, Ima Mfon, and Lakin Ogunbanwo, is exhibiting via The Photographic Museum of Humanity until July 20th.

Images courtesy: The Photographic Museum of Humanity

Find more information of the exhibition by clicking here

SugarCube Presents (RE)VISIONS: New Works by Uchay Joel Chima

(RE)VISIONS: New Works by Uchay Joel Chima

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Great news! A new African art exhibition has just opened in Denver. Uchay Joel Chima showcases his art at SugarCube.

Art at the Cube opened its doors officially on Friday, June 5th with (RE)VISIONS, for a large-scale, three-month exhibition, featuring a selection of recent mixed media works by prominent Nigerian artist Uchay Joel Chima.

The SugarCube building is internationally renowned for its architecture and contemporary design, and features acclaimed restaurants, stunning office spaces and luxury residences. This unique backdrop brings to life Chima’s innovative works, and naturally transcends common perceptions of a downtown high-rise. His eclectic mix of materials, such as charcoal briquettes, newspaper scraps, and twine, provides the perfect contrast to SugarCube’s creamy Venetian plaster and statuary white marble walls.

Janine Sytsma, Curator of (RE)VISIONS and African art historian, describes the transformation process represented in Chima’s work, where “devastation becomes the catalyst for reinvention.” Using materials from his Nigerian environment, Chima responds to various socio-political issues, from environmental disasters to social injustices. “Chima acknowledges a history of degradation in Nigeria and elsewhere, but refuses to allow that history to define the current reality,” explains Sytsma. “Instead, he imbues his work with a sense of beauty, hope, and promise.”
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Chima has exhibited his work in prominent galleries in Nigeria, South Africa, the United States, and Canada.

The GlowingColours.com reached out to the contemporary African artist for some comments on his new exhibition and here is what he has to say :

Dr. Janine Sytsma, who is an associate professor at the Washington and Lee University in Virginia spent some time in Nigeria during her doctorate degree program and got to know my work. So when she had the opportunity to consult and curate the show for the grand opening of the Art at the Cube (a gallery that is run by the Sugar Cube Building in Downtown Denver), she invited me as the first artist to show in the space.

My expectation was that my work will be well received in Denver. And that was exactly what happened. My work was well received. Denver people were like “…we haven’t seen anything like this over here…we love your work”.

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For more information about the inaugural artist, Uchay Joel Chima, please contact Janine Sytsma, Ph.D., Assistant Professor of African Art History at Washington and Lee University, at JanineASytsma@gmail.com.

 

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Art Interview| Enigma Art Collective Founder Khenye Gager Talks Pop-up Gallery and Curating Womanish

We recently brought you the news about the new exhibition of Enigma art collective in Abuja (Click here to check it out), a pop-up gallery that is transforming the way art is presented across Nigeria. We approached the founder and the curator of  Enigma art collective to get to know the gallery as well  find out what inspired “Woman.ish”.

Read and stay inspired 😉

The Interview:

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Who is Khenye Gager?

As a Fine Artist, Textile Designer and Independent Curator at Enigma Art Collective, we have a pop-up gallery which, I manage, organise and host exhibitions and other art related events. These endeavours are passion and emotionally induced, from the everyday life and contemporary art. I studied at University of the Arts London: Chelsea College of Art and Design where I developed as an artist in my local city, London. Having moved across to Africa (Sierra Leone & Nigeria), over the past year i have evolved into local issues via NGO’s that have honed my development artistically. My concepts and practice are fuelled by all aspects of art and design from fashion to architecture.

 

Could you tell us about your exhibition at Cafe de Vie, Abuja, ‘WOMANISH’? What influenced the idea of this exhibition?

As stated earlier, Enigma Art is always looking to its immediate environment for inspiration. Cafe de vie has a homey and organic feel with environs which are visually and artistically stimulating. This all forms a narrative which I evoke through my paintings. Having worked with the NGO’s like Population Council and Girl Hub both locally based. I gained an awareness of the status of the female within my immediate local community and women as a whole and thus inspired me to do this Exhibition Womanish.

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Probably the most burning question is: Is this exhibition in reference to feminism? If yes, why did you decide to organise this show at this particular moment in time? How do you think WOMANISH will influence the Nigerian woman?

Womanish is very personal to me as the exhibition is rooted in feminism. This year celebrates the year of the woman and was the inspiration for WOMANISH. I believe that being a feminist is being a role model , leader and inspiration to other women and girls. More so empower them enough to know that it is their right to make positive and progressive choices and make the difference in their society either it be in the home or on a larger scale. The decision for the Exhibition to be held in June was that this month was named after JUNO the greek goddess for Conception, femininity and Motherhood.

 

Art News recently asked 20 women “is the art world biased?” We want to direct the same question to you to know your view. Is the art world biased?

From my perspective art cannot be biased as it’s passionately lead and it is ethereal driven. These are both personal feelings which are independent to different people. Suggesting the art world is biased could also be perceived true, but that recognition of bias is tied to choice which is basically what art is about.

 

You are also the chief curator of Enigma art gallery, could you talk us through the process of curating WOMANISH. What is the main advantage of having a pop-up gallery?

As the heart of Enigma Art Pop-up gallery is the concept of being an enigma, a person or thing that is mysterious or difficult to understand, unique and individual. Enigma Art Collective transforms alternative spaces into creative experiences which for me as the curator is key to our events, as the viewers interact with the space as well as the artwork making every exhibition is new and different. WOMANISH was curated and supported by The United Nations Women’s Representative, an aspect of the exhibition which only helped calibrate the idea and the event.

 

What do you think influences buyers’ taste in African art these days?

In today’s ever evolving and thriving art market we believe in the collaboration of African and western aesthetics. The Nigerian market has morphed into a very diverse and multi-ethnic community which is what makes Enigma Art individual as primary to our products and creative verve is a modern and contemporary approach, this admix of cultures creates work which is refreshing and unique and is what we believe buyers are looking for.

 

What has been your most memorable moment curating this exhibition?

The most memorable moment curating this exhibition is meeting and engaging with new the Cafe de Vie Creative team and Manager and the UN Women Representative who share the same vision of art and concepts and made this exhibition such a success.

 

Which works could you recommend to audiences as key highlights?

There actually are no particular highlights largely because all of them are representative of the topic presented. They all have a story they communicate that’s of critical relevance to the collective story, Womanish.

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What’s on the horizon for you? 

We have been contacted by various venues for exhibitions; however we are very specific about the venues we choose to support. We tend to use alternative locations that are new and relatively sparse, this ensures visibility and engages guests with new locations. So be sure that the next venue is going to be new contextually and conceptually. What’s next for me is to travel, see local/international exhibitions, build focus groups to draw the inspiration as this is critical to the relationships our work conveys.

 

What is your next project?

As ever it’s going to be an enlightening, provocative and most assuring, societally relevant exhibition. A visual exploration with photography is going to be fore at this next exhibition but we won’t spill all the beans just yet.

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Photo credit: Arteh Odjidja and Simivijay

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Art: Official Dates Of Yinka Shonibare MBE 3 Solo Exhibitions In North America

News just got to us about Yinka Shonibare MBE exhibitions in North America.

Yinka Shonibare

James Cohan Gallery has announced the upcoming exhibitions across North America by Nigerian-British artist Yinka Shonibare MBE Spring/Summer 2015.

Find the dates  and venue of all three exhibitions.
Rage of the Ballet Gods
April 30–June 20, 2015

James Cohan Gallery 
533 West 26 Street
New York, NY 10001


Pièces de résistance
April 28–September 20, 2015

DHC/Art Foundation 
451 St Jean Street
Montreal, Quebec H2Y 2R5
Canada


Colonial Arrangements
May 1–August 31, 2015

Morris-Jumel Mansion 
65 Jumel Terrace
New York, NY 10032

Yinka Shonibare MBE was a Turner Prize nominee in 2004. A major mid-career survey toured in 2008–09 at the Museum of Contemporary Art, Sydney, Australia; the Brooklyn Museum, New York; and the Museum of African Art at the Smithsonian Institution, Washington DC. In 2010, the artist’s sculpture Nelson’s Ship in a Bottle was selected for the prestigious Fourth Plinth commission series in London’s Trafalgar Square. In 2013, a major survey show was mounted at Yorkshire Sculpture Park, Wakefield, UK, and travelled in part to Royal Museums Greenwich/The Queen’s House, London; GL Strand, Copenhagen; Gdańska Galeria Miejska, Gdansk, Poland; and Wroclaw Contemporary Museum, Wroclaw, Poland. Shonibare lives and works in London.

For more on  Yinka Shonibare MBE exhibitions, contact James Cohan gallery

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Senufo: Art & Identity in West Africa Open in Cleveland Museum

Exhibition date: Sun, 02/22/2015 to Sun, 05/31/2015

Some of the most beloved artistic creations of sub-Saharan Africa, masks, figures, and decorative art labeled as Senufo have been the subject of numerous studies by African, American, and European scholars since the 1930s. The interest in sculpture identified as Senufo was largely stimulated by its discovery by the artistic avant-garde in the early twentieth century. Pablo Picasso and Fernand Léger were among those to find inspiration in the oeuvre of their West African counterparts.

Through a stunning selection of objects in diverse styles and mediums, the exhibition introduces visitors to the poro and sandogo societies, the primary settings for the production and use of works of art in the Senufo-speaking region of northern Côte d’Ivoire. However, drawing on recent research in Mali and Burkina Faso, the exhibition also includes sculptures not usually attributed to Senufo-speaking artists or patrons, thus shattering the boundaries of the corpus typically identified as Senufo.

Featuring nearly 160 loans from museums and private collections in Europe, Canada, and the United States,Senufo: Art and Identity in West Africa examines the shifting meanings of the term Senufo since the late nineteenth century and investigates assumptions underlying the labeling of art as Senufo. Revealing the shortcomings of labels tied to limited cultural or ethnic groups, the exhibition encourages a closer look at individual objects and their particular histories.

Organised by the Cleveland Museum of Art, Senufo: Art and Identity in West Africa will subsequently also travel to the Saint Louis Art Museum and the Musée Fabre in Montpellier, France.

 

[Image: Mother-and-Child Figure (detail), 1800s-1900s. Africa, Guinea Coast, Ivory Coast, Senufo people. Wood; h: 63.6 cm. James Albert and Mary Gardiner Ford Memorial Fund 1961.198]