Terra Kulture receives TripAdvisor certificate of excellence
By Prisca Sam-Duru
Leading arts, culture, lifestyle and educational center in Nigeria, Terra Kulture has been awarded the 2018 TripAdvisor Certificate of Excellence. Now in its eighth year, the award celebrates businesses that have earned great traveller reviews on the TripAdvisor platform over the past year. Certificate of excellence recipients over the years include attractions, restaurants and accommodations located all over the world that have continually delivered quality customer experience.The certificate of excellence accounts for the quality and quantity of reviews submitted by travellers on TripAdvisor over a 12-month period. To qualify, a business must maintain an overall TripAdvisor bubble rating of at least four out of five, have a minimum number of reviews and must have been listed on TripAdvisor for at least 12 months. Speaking on the award, Founder of Terra Kulture, Bolanle Austen-Peters said, “It gives us great pleasure to announce that we have just been awarded the 2018 Certificate of Excellence from TripAdvisor. Terra Kulture is a multiple TripAdvisor Certificate of Excellence recipient and we’d like to thank our customers, art enthusiasts, sponsors and patrons for your unflinching support over the past 15 years. We couldn’t possibly have done all this without you” Vice President of Industry Marketing, TripAdvisor, Heather Leisman noted that “TripAdvisor is excited to announce the recipients of the 2018 Certificate of Excellence, which celebrates experiences and other travel businesses that have consistently received strong ratings on the world’s largest travel site”.This recognition allows us to publicly honour businesses that are actively engaging with customers and using feedback to help travellers identify and confidently book the perfect trip” she said.
Thursday, 23 August 2018
The Lagos monument sculptures could have been better – Barry
The Lagos monument sculptures could have been better – Barry
…says the right artists were not contracted to do the job
By Prisca Sam-Duru
Nzennaya Barry Ikechukwu is a Fine Art teacher and full time studio artist. He studied Fine and Applied Arts and graduated from the Federal Polytechnic, Oko, in Anambra State as the best painting student with distinction in 2010. As an artist, he loves his expression to have no bounds, but was fascinated by the use of shapes and how they interact in creating forms and being used in the expression of his imaginative prowess. Barry was mentored by one of the most prolific Nigerian horse painters, Abdulsalam Abdulkareem, but was greatly influenced by the works of the great Yusuf Grillo, Sam Ebohon and Donald Onuoha. In this exclusive encounter, Barry shares how it all began and the journey so far.
Tell us about your journey into visual art..
Actually when I was growing up, there was no orientation for me but I had the instinct in me that I can draw, that is I had artistic trait in me. I remember when I was in Primary three and I used to design on my textbooks. There was no fine art in our school curriculum, no encouragement. So, I was just drawing subconsciously. On getting home, I received serious flogging from my parents for drawing on my textbooks. To make matters worse, an uncle who was supporting my education advised me to stop drawing and face my studies. So I decided I would become an economist but like we say, man proposes and God disposes. So in 2005, while trading in Aspamda, I saw a painting by a student from Lagos State Polytechnic and that inspired me to know that I could actually study fine arts in school. I got admission into Federal Polytechnic, Oko. Upon completion of NYSC in 2012, I went to Abdulsalam Studio and since then, art has been an adventure for me. What are the sources of your inspiration?
I draw inspiration from life. Waking up everyday gives me strength to paint. It makes me think deeper because I do a lot of conceptual paintings, things that entail a lot of magnetic works. I like to do things on shapes, manipulative things, things that deal with creativity. But my kind of art has no bounds, as in expression. I don’t see myself being limited to a particular kind of painting. Music is also part of my inspiration. I love country music a lot. It makes me create better. If you take music out of me, you take a little bit painting out of me.
What are the messages in your works?
One of my paintings auctioned at the recent Terra Kulture MyDrim Gallery (TKMG) is titled: Contemplation. It’s a depiction of two images, man and woman. People regard it as Adam and Eve but my message in the work is on divorce and family issues. I believe charity begins at home. I believe the problems of our country have roots in the home. It has to do with the way children are trained and how parents react to issues. This takes me back to the Garden of Eden and all that transpired there. So I feel if there’s unity, love, respect, honesty and understanding in the family, the nation will be great. That’s the kind of messages I send across to my audience.
What are your specific reasons for being at TKMG?
As an artist, it is necessary to showcase my works. If I just lock myself up in the studio, imagine and create things and do not show them to the world, then the message is not complete. It’s just like the gospel; if it is not preached, then how will the world know about it?
Was that your first time at TKMG auction?
Yes, it was my first time. And I’m happy that the works, Contemplation and Forecasters were sold. I expect that the auction would open up more doors for me and for arts generally so that the government as well as corporate establishments and individuals will see reasons to invest in the sector.
Would it be correct to say that people are okay with upcoming artists’ level of creativity considering how they fare at auctions?
I think these days the acceptance of upcoming artists is encouraging. But I also think that young artists need to put in all their efforts. They need to do exceptional things, think outside the box and nothing can hold them back.
What is your view on the state of the industry as a whole?
The industry is growing but I’ll not say I’m okay with the way it is. I expect it to improve more.
In what ways do you mean?
We need funding and for government to take the sector more seriously. The government is helping in one way. Look at the monuments, sculptural piece that Lagos State is approving. It shows that government is willing to help visual arts. But then it’s unfortunate that the people that would have done the work better we’re not contracted. These are monuments that would stay for long and also boost tourism, so they needed to have been done better. I know it’s a system problem.
Did you have any challenge that threatened your dream?
As I said, art is a serious adventure for me. It’s not easy for a student from the East to come to Lagos and start practising art. I passed through serious challenges. I suffered hunger at the beginning. Things were more than tough and it took me like five years before I began to find my feet. But all that added improvement to my works. Access to funds is a major challenge to young artists. If getting loans are easy, they will do better. We also need something like an open studio, that’s a craft centre that accommodates every artist.
What are your future plans?
I should be an international artist, exhibiting all over the world, touring the globe and waving the flag of the country is top priority. I want to be a public artist with a large studio because right now, I have some students I’m training in Abdulsalam Studio just like Universal Studio of Arts.
…says the right artists were not contracted to do the job
By Prisca Sam-Duru
Nzennaya Barry Ikechukwu is a Fine Art teacher and full time studio artist. He studied Fine and Applied Arts and graduated from the Federal Polytechnic, Oko, in Anambra State as the best painting student with distinction in 2010. As an artist, he loves his expression to have no bounds, but was fascinated by the use of shapes and how they interact in creating forms and being used in the expression of his imaginative prowess. Barry was mentored by one of the most prolific Nigerian horse painters, Abdulsalam Abdulkareem, but was greatly influenced by the works of the great Yusuf Grillo, Sam Ebohon and Donald Onuoha. In this exclusive encounter, Barry shares how it all began and the journey so far. Tell us about your journey into visual art..
Actually when I was growing up, there was no orientation for me but I had the instinct in me that I can draw, that is I had artistic trait in me. I remember when I was in Primary three and I used to design on my textbooks. There was no fine art in our school curriculum, no encouragement. So, I was just drawing subconsciously. On getting home, I received serious flogging from my parents for drawing on my textbooks. To make matters worse, an uncle who was supporting my education advised me to stop drawing and face my studies. So I decided I would become an economist but like we say, man proposes and God disposes. So in 2005, while trading in Aspamda, I saw a painting by a student from Lagos State Polytechnic and that inspired me to know that I could actually study fine arts in school. I got admission into Federal Polytechnic, Oko. Upon completion of NYSC in 2012, I went to Abdulsalam Studio and since then, art has been an adventure for me. What are the sources of your inspiration?
I draw inspiration from life. Waking up everyday gives me strength to paint. It makes me think deeper because I do a lot of conceptual paintings, things that entail a lot of magnetic works. I like to do things on shapes, manipulative things, things that deal with creativity. But my kind of art has no bounds, as in expression. I don’t see myself being limited to a particular kind of painting. Music is also part of my inspiration. I love country music a lot. It makes me create better. If you take music out of me, you take a little bit painting out of me.
What are the messages in your works?
One of my paintings auctioned at the recent Terra Kulture MyDrim Gallery (TKMG) is titled: Contemplation. It’s a depiction of two images, man and woman. People regard it as Adam and Eve but my message in the work is on divorce and family issues. I believe charity begins at home. I believe the problems of our country have roots in the home. It has to do with the way children are trained and how parents react to issues. This takes me back to the Garden of Eden and all that transpired there. So I feel if there’s unity, love, respect, honesty and understanding in the family, the nation will be great. That’s the kind of messages I send across to my audience.
What are your specific reasons for being at TKMG?
As an artist, it is necessary to showcase my works. If I just lock myself up in the studio, imagine and create things and do not show them to the world, then the message is not complete. It’s just like the gospel; if it is not preached, then how will the world know about it?
Was that your first time at TKMG auction?
Yes, it was my first time. And I’m happy that the works, Contemplation and Forecasters were sold. I expect that the auction would open up more doors for me and for arts generally so that the government as well as corporate establishments and individuals will see reasons to invest in the sector.
Would it be correct to say that people are okay with upcoming artists’ level of creativity considering how they fare at auctions?
I think these days the acceptance of upcoming artists is encouraging. But I also think that young artists need to put in all their efforts. They need to do exceptional things, think outside the box and nothing can hold them back.
What is your view on the state of the industry as a whole?
The industry is growing but I’ll not say I’m okay with the way it is. I expect it to improve more.
In what ways do you mean?
We need funding and for government to take the sector more seriously. The government is helping in one way. Look at the monuments, sculptural piece that Lagos State is approving. It shows that government is willing to help visual arts. But then it’s unfortunate that the people that would have done the work better we’re not contracted. These are monuments that would stay for long and also boost tourism, so they needed to have been done better. I know it’s a system problem.
Did you have any challenge that threatened your dream?
As I said, art is a serious adventure for me. It’s not easy for a student from the East to come to Lagos and start practising art. I passed through serious challenges. I suffered hunger at the beginning. Things were more than tough and it took me like five years before I began to find my feet. But all that added improvement to my works. Access to funds is a major challenge to young artists. If getting loans are easy, they will do better. We also need something like an open studio, that’s a craft centre that accommodates every artist.
What are your future plans?
I should be an international artist, exhibiting all over the world, touring the globe and waving the flag of the country is top priority. I want to be a public artist with a large studio because right now, I have some students I’m training in Abdulsalam Studio just like Universal Studio of Arts.
Thursday, 9 August 2018
Kwubiri’s motionEmotion reflects power of music on creative soul
Kwubiri’s motionEmotion reflects power of music on creative soul
By Prisca Sam-Duru
THIS summer, SMO Contemporary Art is delighted to curate a major solo exhibition motionEmotion, by Germany-based artist, Chidi Kwubiri, which is being presented by Gallery 1957 in Accra this week. MotionEmotion is the culmination of a life-long dream of Kwubiri’s, in which he speaks to the power of music on the creative soul. The exhibition of 18 spectacular large canvases and a performance piece reflect the spirit dance of celebration, joy, melancholy, energy, hope, and protest that music evokes in people wherever they gather. Born in 1966 in Umuahia, Kwubiri grew up in Nigeria and relocated to Germany in his twenties.
He is a graduate of the Art Academy of Dusseldorf where he gained his Bachelor’s and Master’s of Fine Arts, and has spent the last 25 years exhibiting globally at prestigious galleries and museums in France, Germany, the United States, Russia, Belgium, South Africa and his native Nigeria. He has featured in selected group and solo exhibitions which include:LebensWerkArbeit, Museum Am Dom, Trier (2018);Ich bin, weil du bist,Museum Am Dom, Trier (2017); Italia Docet, 56th Venice Biennale, Venice (2015);Mother Tongue, Temple Muse, Lagos (2013); Theme Africa, Phillips de Pury, New York (2010);and The Internationals, Millenia Gallery, Orlando (2004). In motionEmotion, Kwubiri takes us on a journey across sound, rhythm, performance and dance, by presenting paintings which speak to the outer and inner manifestations of music on identity, the rise of freedom movements, and the impact of lyrics on society across different generations. Presented by Gallery 1957 in Accra, Ghana and curated by Sandra Mbanefo Obiago in collaboration with SMO Contemporary Art, the works introduce a multi-layered, almost opaque world of colour and silhouette that gently seeps into visual consciousness. Utilising his characteristic dripping paint technique on large canvases, Kwubiri reveals expertly rendered hazy outlines of figures in motion and dance, in a sea of minute dots and drips. Kwubiri presents a new monochromatic body of work with minimalist colour highlights alongside his signature colour palette, which reinforce the power of unity and hope against the socio-political tensions surrounding global immigration issues. His bold interpretations also touch on the impact of music on global youth movements by interpreting cross-generational rhythms, culture and political consciousness. The exhibition at Gallery 1957 shows Kwubiri on a journey of sensory memory through paintings of cultural crusaders – such as afrobeat legend, FelaKuti and reggae prophet, Bob Marley – juxtaposed against contemporary dances with their roots in Africa,including twerking, popping & locking, hip hop, and rap. motionEmotion is set against a backdrop of live music, freestyle instrumental and art-based performance. “We are delighted to present Nigerian art to a broader audience across Africa,” said Sandra Mbanefo Obiago, the Founder and Artistic Director of SMO Contemporary Art. “We need more art institutions to collaborate across the continent, so that our amazing artists have a wider pool of collectors and supporters of their work.” The exhibition opened on Thursday, June 28th, and ended July 30th, 2018
By Prisca Sam-Duru
THIS summer, SMO Contemporary Art is delighted to curate a major solo exhibition motionEmotion, by Germany-based artist, Chidi Kwubiri, which is being presented by Gallery 1957 in Accra this week. MotionEmotion is the culmination of a life-long dream of Kwubiri’s, in which he speaks to the power of music on the creative soul. The exhibition of 18 spectacular large canvases and a performance piece reflect the spirit dance of celebration, joy, melancholy, energy, hope, and protest that music evokes in people wherever they gather. Born in 1966 in Umuahia, Kwubiri grew up in Nigeria and relocated to Germany in his twenties.
He is a graduate of the Art Academy of Dusseldorf where he gained his Bachelor’s and Master’s of Fine Arts, and has spent the last 25 years exhibiting globally at prestigious galleries and museums in France, Germany, the United States, Russia, Belgium, South Africa and his native Nigeria. He has featured in selected group and solo exhibitions which include:LebensWerkArbeit, Museum Am Dom, Trier (2018);Ich bin, weil du bist,Museum Am Dom, Trier (2017); Italia Docet, 56th Venice Biennale, Venice (2015);Mother Tongue, Temple Muse, Lagos (2013); Theme Africa, Phillips de Pury, New York (2010);and The Internationals, Millenia Gallery, Orlando (2004). In motionEmotion, Kwubiri takes us on a journey across sound, rhythm, performance and dance, by presenting paintings which speak to the outer and inner manifestations of music on identity, the rise of freedom movements, and the impact of lyrics on society across different generations. Presented by Gallery 1957 in Accra, Ghana and curated by Sandra Mbanefo Obiago in collaboration with SMO Contemporary Art, the works introduce a multi-layered, almost opaque world of colour and silhouette that gently seeps into visual consciousness. Utilising his characteristic dripping paint technique on large canvases, Kwubiri reveals expertly rendered hazy outlines of figures in motion and dance, in a sea of minute dots and drips. Kwubiri presents a new monochromatic body of work with minimalist colour highlights alongside his signature colour palette, which reinforce the power of unity and hope against the socio-political tensions surrounding global immigration issues. His bold interpretations also touch on the impact of music on global youth movements by interpreting cross-generational rhythms, culture and political consciousness. The exhibition at Gallery 1957 shows Kwubiri on a journey of sensory memory through paintings of cultural crusaders – such as afrobeat legend, FelaKuti and reggae prophet, Bob Marley – juxtaposed against contemporary dances with their roots in Africa,including twerking, popping & locking, hip hop, and rap. motionEmotion is set against a backdrop of live music, freestyle instrumental and art-based performance. “We are delighted to present Nigerian art to a broader audience across Africa,” said Sandra Mbanefo Obiago, the Founder and Artistic Director of SMO Contemporary Art. “We need more art institutions to collaborate across the continent, so that our amazing artists have a wider pool of collectors and supporters of their work.” The exhibition opened on Thursday, June 28th, and ended July 30th, 2018
NLNG announces longlist of 11 for 2018 Literature Prize …as power, politics dominate
NLNG announces longlist of 11 for 2018 Literature Prize
…as power, politics dominate
By Prisca Sam-Duru
The struggle for political control and power play dominated the longlist for the $100,000 Nigeria Prize for Literature, announced recently by the Advisory Board for the Prize. The Nigeria Prize for Literature is Africa’s most prestigious literary prize sponsored by Nigeria LNG Limited. The 2018 longlist of 11 plays chosen from 89 entries was selected by a panel of three judges led by Matthew Umukoro, Professor of Theatre Arts at the University of Ibadan. Other members of the panel include Mohammed Inuwa Umar-Buratai, Professor of Theatre and Performing Arts, and the Dean of the Faculty of Arts at the Ahmadu Bello University, (ABU), Zaria; and Ngozi Udengwu, a senior lecturer in the Department of Theatre and Film Studies at the University of Nigeria, Nsukka. The Umukoro-led panel was appointed in February 2018 by the Prof. Ayo Banjo-led Advisory Board for the Nigeria Prize for Literature which has been administering the prize on behalf of Nigeria LNG Limited since 2010. Entries for the 2018 Prize were received by the judges in April 2018. Members of the Advisory Board for the Literature Prize, besides Professor Banjo, two-time Vice-Chancellor of Nigeria’s premier university, University of Ibadan, are Prof. Jerry Agada, former Minister of State for Education, former President of the Association of Nigerian Authors, and Professor Emeritus, Ben Elugbe, former President of the Nigerian Academy of Letters and president of the West-African Linguistic Society (2004-2013).
…as power, politics dominate
By Prisca Sam-Duru
The struggle for political control and power play dominated the longlist for the $100,000 Nigeria Prize for Literature, announced recently by the Advisory Board for the Prize. The Nigeria Prize for Literature is Africa’s most prestigious literary prize sponsored by Nigeria LNG Limited. The 2018 longlist of 11 plays chosen from 89 entries was selected by a panel of three judges led by Matthew Umukoro, Professor of Theatre Arts at the University of Ibadan. Other members of the panel include Mohammed Inuwa Umar-Buratai, Professor of Theatre and Performing Arts, and the Dean of the Faculty of Arts at the Ahmadu Bello University, (ABU), Zaria; and Ngozi Udengwu, a senior lecturer in the Department of Theatre and Film Studies at the University of Nigeria, Nsukka. The Umukoro-led panel was appointed in February 2018 by the Prof. Ayo Banjo-led Advisory Board for the Nigeria Prize for Literature which has been administering the prize on behalf of Nigeria LNG Limited since 2010. Entries for the 2018 Prize were received by the judges in April 2018. Members of the Advisory Board for the Literature Prize, besides Professor Banjo, two-time Vice-Chancellor of Nigeria’s premier university, University of Ibadan, are Prof. Jerry Agada, former Minister of State for Education, former President of the Association of Nigerian Authors, and Professor Emeritus, Ben Elugbe, former President of the Nigerian Academy of Letters and president of the West-African Linguistic Society (2004-2013).
I’ll turn tourism, arts and culture to major economy booster as Culture Minister — Ebohon
I’ll turn tourism, arts and culture to major economy booster as Culture Minister — Ebohon
By Prisca Sam-Duru
Sam Ebohon is the President of the Guild of Professional Fine Artists of Nigeria. As a studio artist, Ebohon graduated in 1990 with HND (Higher National Diploma) from the prestigious Yaba College of Technology. His most identifiable works feature large criss-crossing strokes that abstract the subject matter. His vibrant brushstrokes bear a particular textual flourish often found in artworks by other graduates of the Yaba School. Ebohon is a respected member of the prestigious Society of Nigerian Artists. In 2009, he was awarded the Gold Medal Prize at the Caterina de Medici painting competition in Florence, Italy. His paintings are widely represented in local and international art collections. In this exclusive interview conducted during the TKMG annual auction preview at Terra Kulture, Lagos, he reveals his ambition in the industry and much more. Excerpts.
You chose to be at TKMG auction, why?
You have to always remain relevant, do your business because art is business. One has to make money. Having a platform like TKMG helps you do all that.
First time at the Auction?
No. I’ve been following them.
How many works did you put up?
Just one. It’s titled Response and Stimuli.
Why was this your choice?
That was the choice of TKMG. The mode of selection is that you submit a couple of works and they make their choice considering the work that goes with their theme.
When did you become an artist?
I can’t even tell when. It’s like…I don’t even know. How do you tell someone that you know, I’ve never been anything more than an artist. I’ve always wanted to be something else but art always pulls me back.
Something else like what?
You know while growing up and your father says you’ve got to be a doctor or lawyer. But professionally as an artist, it all began in 1990. That’s the year I graduated and since then, it’s been a long journey with group and solo exhibitions.
What inspires you?
Everything inspires me but mostly designs. I’m a design person so whatever gives me a design, it doesn’t have to be a human being, it can be an inanimate object. It can be anything but that which makes a beautiful design and inspires me.
The genre you’re more comfortable with?
Painting but very rarely in water colour. I still do those ones, but oils on canvass or board, that’s me.
What kind of subject matter do you work on?
I’d like to be considered as somebody that talks from the heart, on general issues. You see what art does to you is that it grips you and says, look you have to paint me and you have no choice. Sometimes you start a painting and you don’t even know why. It just appeals to you, you paint it and give it a title by fire by force(laughter). The other part is when I see something that affects me either positively or negatively. There’s a painting I’m working on now and it’s on fuel scarcity. It actually came to me during the fuel scarcity period. It’s about people suffering to buy fuel. There’s chaos at the station. So that prompted me to do a series I titled: Chaos. But unfortunately for me, every time I paint, I do so with vibrant colours with strokes, and my message most times, end up getting lost out of beauty. I mean buried in the beauty of the piece. So you have viewers misinterpreting the works and giving them titles outside the message.
Why do you paint?
Just to paint. I’ve always done that since I was little.
The reception of upcoming artist?
The history of art in Nigeria is right now from my point of view, there’s a break. By this I mean, the masters such as the Grillos, Onobrakpeyas, Oshinowos etc, those Zaria rebels who started this whole ‘struggle’, but in present time, we’re beginning to lose the history that followed them because we have people who are probably naive about which to consider first before the other. There’s a crop of people before the Grillos or Oshinowos, that is the Akandes, El Anatsui, Olaku, they have their histories but they’ve locked them together. By doing that, there’s no history on the progression on the Olakus and now they’re mixing up the masters and upcoming artists together. This could be because the contemporary artists are exposed to auctions and international space because of Internet, they can sell works even as high as their predecessors. But let the history accommodate everyone.
Thoughts on Nigerian art?
Very vibrant. The world is focusing on Nigeria now.
Really?
Yes. The world is focusing on Nigeria as an art hub where people and creatives in the sense of art are thriving and we are happy about that. It wasn’t like this before. The industry can still do better. Unfortunately, we have politicians at the helm of affairs who have no inkling of what art/ culture should be about. So having government push is almost not there. But generally, the artists and few other people have been able to push it to a good position. We have young artists selling for millions of naira, it wasn’t like that before. And those days you dare not say you want to be an artist because your father will flog hell into you.
What else should government do to promote the industry?
They should create an enabling environment by helping with sponsorship, grants and other things they can use to encourage artists. They are talking about Air Nigeria, can you imagine that the logo was brought from outside Nigeria! Meanwhile we have artists who can do that better. They should recognise that we have talents. Nigeria doesn’t support its own.
Where do you see yourself 10 years from now?
I’m going to be the Minister of Arts and Culture so that I can change things. If they like, let them add Tourism. I can carry it because they all work together. There’ll be serious overhauling. I will work on tourism because it’s very important and its potentials are not being looked at, at the moment. Let me zoom to art. Tourists are seriously discouraged from buying art pieces since they are stressed so much at the airport while trying to travel with the works. Why ask them to go to the National museum for written permission when you can have an office representing the museum right there at the airport? This is not helping the industry and our economy as well. In Ghana, majority of their art works are bought by tourists. This is a boost to their economy and the same can happen in Nigeria if the sector’s potentials are harnessed.
By Prisca Sam-Duru
Sam Ebohon is the President of the Guild of Professional Fine Artists of Nigeria. As a studio artist, Ebohon graduated in 1990 with HND (Higher National Diploma) from the prestigious Yaba College of Technology. His most identifiable works feature large criss-crossing strokes that abstract the subject matter. His vibrant brushstrokes bear a particular textual flourish often found in artworks by other graduates of the Yaba School. Ebohon is a respected member of the prestigious Society of Nigerian Artists. In 2009, he was awarded the Gold Medal Prize at the Caterina de Medici painting competition in Florence, Italy. His paintings are widely represented in local and international art collections. In this exclusive interview conducted during the TKMG annual auction preview at Terra Kulture, Lagos, he reveals his ambition in the industry and much more. Excerpts.
You chose to be at TKMG auction, why?
You have to always remain relevant, do your business because art is business. One has to make money. Having a platform like TKMG helps you do all that.
First time at the Auction?
No. I’ve been following them.
How many works did you put up?
Just one. It’s titled Response and Stimuli.
Why was this your choice?
That was the choice of TKMG. The mode of selection is that you submit a couple of works and they make their choice considering the work that goes with their theme.
When did you become an artist?
I can’t even tell when. It’s like…I don’t even know. How do you tell someone that you know, I’ve never been anything more than an artist. I’ve always wanted to be something else but art always pulls me back.
Something else like what?
You know while growing up and your father says you’ve got to be a doctor or lawyer. But professionally as an artist, it all began in 1990. That’s the year I graduated and since then, it’s been a long journey with group and solo exhibitions.
What inspires you?
Everything inspires me but mostly designs. I’m a design person so whatever gives me a design, it doesn’t have to be a human being, it can be an inanimate object. It can be anything but that which makes a beautiful design and inspires me.
The genre you’re more comfortable with?
Painting but very rarely in water colour. I still do those ones, but oils on canvass or board, that’s me.
What kind of subject matter do you work on?
I’d like to be considered as somebody that talks from the heart, on general issues. You see what art does to you is that it grips you and says, look you have to paint me and you have no choice. Sometimes you start a painting and you don’t even know why. It just appeals to you, you paint it and give it a title by fire by force(laughter). The other part is when I see something that affects me either positively or negatively. There’s a painting I’m working on now and it’s on fuel scarcity. It actually came to me during the fuel scarcity period. It’s about people suffering to buy fuel. There’s chaos at the station. So that prompted me to do a series I titled: Chaos. But unfortunately for me, every time I paint, I do so with vibrant colours with strokes, and my message most times, end up getting lost out of beauty. I mean buried in the beauty of the piece. So you have viewers misinterpreting the works and giving them titles outside the message.
Why do you paint?
Just to paint. I’ve always done that since I was little.
The reception of upcoming artist?
The history of art in Nigeria is right now from my point of view, there’s a break. By this I mean, the masters such as the Grillos, Onobrakpeyas, Oshinowos etc, those Zaria rebels who started this whole ‘struggle’, but in present time, we’re beginning to lose the history that followed them because we have people who are probably naive about which to consider first before the other. There’s a crop of people before the Grillos or Oshinowos, that is the Akandes, El Anatsui, Olaku, they have their histories but they’ve locked them together. By doing that, there’s no history on the progression on the Olakus and now they’re mixing up the masters and upcoming artists together. This could be because the contemporary artists are exposed to auctions and international space because of Internet, they can sell works even as high as their predecessors. But let the history accommodate everyone.
Thoughts on Nigerian art?
Very vibrant. The world is focusing on Nigeria now.
Really?
Yes. The world is focusing on Nigeria as an art hub where people and creatives in the sense of art are thriving and we are happy about that. It wasn’t like this before. The industry can still do better. Unfortunately, we have politicians at the helm of affairs who have no inkling of what art/ culture should be about. So having government push is almost not there. But generally, the artists and few other people have been able to push it to a good position. We have young artists selling for millions of naira, it wasn’t like that before. And those days you dare not say you want to be an artist because your father will flog hell into you.
What else should government do to promote the industry?
They should create an enabling environment by helping with sponsorship, grants and other things they can use to encourage artists. They are talking about Air Nigeria, can you imagine that the logo was brought from outside Nigeria! Meanwhile we have artists who can do that better. They should recognise that we have talents. Nigeria doesn’t support its own.
Where do you see yourself 10 years from now?
I’m going to be the Minister of Arts and Culture so that I can change things. If they like, let them add Tourism. I can carry it because they all work together. There’ll be serious overhauling. I will work on tourism because it’s very important and its potentials are not being looked at, at the moment. Let me zoom to art. Tourists are seriously discouraged from buying art pieces since they are stressed so much at the airport while trying to travel with the works. Why ask them to go to the National museum for written permission when you can have an office representing the museum right there at the airport? This is not helping the industry and our economy as well. In Ghana, majority of their art works are bought by tourists. This is a boost to their economy and the same can happen in Nigeria if the sector’s potentials are harnessed.
Wednesday, 11 April 2018
Stretched Terrains Molue mobile museum departs Nigeria for Dak’Art
Stretched Terrains Molue mobile museum departs Nigeria for Dak’Art
By Prisca Sam-Duru
The Goethe Institute Nigeria Mobile residency set to take artists to Dak’Art in Dakar, Senegal, commenced their journey on Monday April 9, from Lagos, Nigeria. Stretched Terrains Molue mobile museum departs Nigeria for Dak’Art.
The Molue Mobile Museum of Contemporary Arts, MMMoCA project titled “Stretched Terrains” according to Goethe-Institute Nigeria Director, Friederike Moschel, involves a group of young artists from Nigeria, Ghana, Ivory Coast, Senegal and Germany. Moschel who spoke during a press conference in Lagos, said the bus which has been changed into a mobile museum would go from Lagos via Benin, Togo, Ghana, Ivory Coast, Mali and arrive Senegal right at the opening of the 13th International Biennial DaK’Art in May. “Stretched Terrains” is an intensive Mobile artist residency project in a bus which has been transformed into a rolling art space. It examines diverse public spaces as communication zones of social, economic and political interaction as it travels the approximately 10,000 kilometers road trip via some west African countries to the 13th edition of Dakar Biennale in Senegal. From Lagos, Joining Berlin-based Nigeria artist, Emeka Udemba, who is the curator of the project are Monsuru Alashe and Gabriel Goller (Germany), who is also in Lagos. The other artists will be picked up on the way as the journey progresses. Moschel hinted that during the trip, artistic ideas will be developed while finished projects will be presented on the return journey at the Goethe-Institute offices along the way. Moschel further said that everything has been done to make the trip as comfortable for the artists as possible. Goethe-Institute insisted that each of the artists travelling has health insurance, food has been provided and a mechanic for the vehicle, as well. She however said that it is an adventure and the artists travelling would expectedly meet some challenges. They, will, for instance, be expected to cook their own food. Indeed, Alashe, who made the first trip, said they had met with some challenges but he said that from all indications, this would definitely be a much better trip. Presenting an overview of the project, Udemba, said MMMoCA stands for Molue Mobile Museum of Contemporary Arts and came to being in 2004. He said the concept of the museum is to interrogate the idea of having a space within the Lagos metropolis that is not restricted to a certain part of the city but creating a platform where contemporary art can be seen and enjoyed everywhere in the city. He disclosed that two years ago, it was decided that the MMMoCA would be used as a platform to connect artists along the West African coast. The first trip, he said, was successful with artists connecting across West Africa. Gabriel Goller from Germany, who was at the press conference, will be travelling from Lagos. Also on the bus from Lagos will be Willie Schumann, a film-maker and freelance journalist, Ray Claver Agbo, Souleymane Konate and Dame Diongue.
By Prisca Sam-Duru
The Goethe Institute Nigeria Mobile residency set to take artists to Dak’Art in Dakar, Senegal, commenced their journey on Monday April 9, from Lagos, Nigeria. Stretched Terrains Molue mobile museum departs Nigeria for Dak’Art.
The Molue Mobile Museum of Contemporary Arts, MMMoCA project titled “Stretched Terrains” according to Goethe-Institute Nigeria Director, Friederike Moschel, involves a group of young artists from Nigeria, Ghana, Ivory Coast, Senegal and Germany. Moschel who spoke during a press conference in Lagos, said the bus which has been changed into a mobile museum would go from Lagos via Benin, Togo, Ghana, Ivory Coast, Mali and arrive Senegal right at the opening of the 13th International Biennial DaK’Art in May. “Stretched Terrains” is an intensive Mobile artist residency project in a bus which has been transformed into a rolling art space. It examines diverse public spaces as communication zones of social, economic and political interaction as it travels the approximately 10,000 kilometers road trip via some west African countries to the 13th edition of Dakar Biennale in Senegal. From Lagos, Joining Berlin-based Nigeria artist, Emeka Udemba, who is the curator of the project are Monsuru Alashe and Gabriel Goller (Germany), who is also in Lagos. The other artists will be picked up on the way as the journey progresses. Moschel hinted that during the trip, artistic ideas will be developed while finished projects will be presented on the return journey at the Goethe-Institute offices along the way. Moschel further said that everything has been done to make the trip as comfortable for the artists as possible. Goethe-Institute insisted that each of the artists travelling has health insurance, food has been provided and a mechanic for the vehicle, as well. She however said that it is an adventure and the artists travelling would expectedly meet some challenges. They, will, for instance, be expected to cook their own food. Indeed, Alashe, who made the first trip, said they had met with some challenges but he said that from all indications, this would definitely be a much better trip. Presenting an overview of the project, Udemba, said MMMoCA stands for Molue Mobile Museum of Contemporary Arts and came to being in 2004. He said the concept of the museum is to interrogate the idea of having a space within the Lagos metropolis that is not restricted to a certain part of the city but creating a platform where contemporary art can be seen and enjoyed everywhere in the city. He disclosed that two years ago, it was decided that the MMMoCA would be used as a platform to connect artists along the West African coast. The first trip, he said, was successful with artists connecting across West Africa. Gabriel Goller from Germany, who was at the press conference, will be travelling from Lagos. Also on the bus from Lagos will be Willie Schumann, a film-maker and freelance journalist, Ray Claver Agbo, Souleymane Konate and Dame Diongue.
Thursday, 5 April 2018
Tales from 2018 Lagos theatre festival
Tales from 2018 Lagos theatre festival
By Prisca Sam-Duru
Although the 2018 edition of Lagos Theatre Festival, LTF which began on February 27, ended Sunday, March 4, the memory it created in the hearts of theatre lovers will linger for long. Being 5th in the series, the weeklong festival took place at 12 different venues across the Island, Mainland and other remote parts of Lagos State. It recorded over 100 shows in both the curated and fringe sections featuring both local and international creatives. Organised by the British Council Nigeria, this year’s edition was themed, “Theatre in Unconventional Spaces”. It featured genres such as drama, dance, family, spoken word, cabaret and variety shows. As it is customary with the festival, there were also capacity building workshops facilitated by experts in different aspects of theatre. Bringing the stage alive during the opening was Mara the storyteller. Her folktales spoke loudly about freedom and change which are both vital to the growth of any society. Mara’s assignment continued with an interactive storytelling workshop which touched on the importance of story in modern society. The curated section featured six productions with over 20 shows, while the fringe section had over 80 shows to the delight of theatre audience. The festival also had workshops and training sections in acting, scriptwriting and development inaddition to other theatre-related topics. Also on display were other art forms music, variety shows and visual arts, etc. ‘Women in the Arts’ forum workshop featured women professionals in diverse genres of arts who deliberated on how to promote women works in the ecosystem in addition to assisting them overcome challenges that undermine their living out their full potentials. It had sub-theme, ‘Pressing for Change: Women who Disrupt Creatively.’ Telling a tale that all societies can relate to, the Kininso Productions group’s performance, titled Tori-Tori was highly entertaining as well as educating. “Tori-Tori is a social realistic play, which covers social, political, economic and cultural issued. It lampoons every system that embraces misappropriation and sheds light on the need for a common future that is all inclusive. Renowned American performance artist and comedian, Kristina Wong, was also on ground to entertain guests during the festival. Wong’s participation was supported by the United States Consulate General Lagos. On Friday March 2nd, Wong conducted master classes for performing arts students, faculty, and theatrical directors at the University of Lagos. Lufodo Academy of Performing Arts and PEFTI Film Institute also benefited from her wealth of experience on February 28th and March 1st respectively. Wong who is notable for her works focusing on women and economic empowerment finally, entertained audience with her critically acclaimed Wong Street Journal show, hosted by United States Consul General, Mr. F. John Bray, at Terra Kulture Arts and Cultural Centre, Lagos.
Tuesday, 20 March 2018
Silicon Valley Women Tech Leaders Visit Nigeria for Week-Long Mentorship program
Silicon Valley Women Tech Leaders Visit Nigeria for Week-Long Mentorship program
By Prisca Sam-Duru
A 16-member delegation of senior women technology executives and professionals from Silicon Valley, California are visiting Nigeria from March 18-23 as part of the TechWomen program.
The women represent organizations as diverse as Twitter, LinkedIn, Netflix, Mozilla, Autodesk, WomenCollegeTech, Stanford Graduate School of Business, Juniper Networks, as well as Fairrer Samani Group, Northgate Environmental Management, Jessica Dickinson Goodman Consulting, and the Institute of International Education. Members of the delegation include Ms. Larissa Shapiro, Head of Mozilla’s Global Diversity and Inclusion Division, and Twitter’s Senior Software Engineer, Ms. Elizabeth Deng. Ms. Deng, a computer science graduate of the University of Southern California co-organized “Girls Who Code Summer Immersion Program” for the micro-blogging website in 2017. Dr. Leedjia Svec, Director WomenCollegeTech and former Director of Programs at the National Aeronautics and Space Administration’s Ames Research Center in Silicon Valley, alongside Ms. Maile Smith, Principal Geologist/ Chief Operating Officer at Northgate Environmental Management, are part of the travelling delegation.
The delegation is working with Nigerian Fellows of the TechWomen program to carry out mentoring sessions in Lagos and Abuja for young women working in the areas of science, technology, engineering and mathematics (STEM).
During the week-long program, the delegation will visit non-governmental organizations, private and public enterprises, universities, schools, tech incubators and innovation hubs to expand networks of women in STEM teaching and learning in Nigeria.
Launched in 2011, TechWomen is an initiative of the Department of State, which supports the U.S. government’s global commitment to advance the participation of women and girls around the world in the business and technology sectors. In addition to sending delegations of American women technology mentors abroad, the TechWomen exchange program brings young women leaders from the Middle East, Central Asia, North Africa, and sub-Saharan Africa including Nigeria to the United States for a professional mentorship at leading technology companies.
Saturday, 17 March 2018
National Integration via culture: Children take front burner
https://www.vanguardngr.com/2018/03/national-integration-via-culture-children-take-front-burner/amp/
NLNG calls for entries for 2018 Nigeria prize for Lit
NLNG calls for entries for 2018 Nigeria prize for Lit
By Prisca Sam-Duru
Nigeria Liquefied Natural Gas,
NLNG, Limited, sponsors of The Nigeria Prize for Literature and The Nigeria Prize for Science, is calling for Entries for the 2018 edition of the prizes.
The focus for the literature prize in 2018 is Drama while the science prize will be
accepting entries on Innovations in Electric Power Solutions. The literature prize rotates among four literary genres- Prose Fiction, Poetry, Drama and Children’s Literature.
The prizes come with a prize cash of $100,000 each.
The literature prize opened on February 13, 2018 and will close on March 29, 2018.
The window for the science prize on the other hand, opened on February 15, 2018 and will close on May 25, 2018.
According to the company, Professor Matthew Umukoro will chair the panel of
judges for this year’s Literature prize competition. Professor Umukoro is a professor of Theatre Arts at University of Ibadan. Other members include Professor Mohammed Inuwa Buratai, a Professor of Theatre and Performing Arts and the Dean of the Faculty of Arts at Ahmadu Bello University, (ABU), Zaria; and Dr. Mrs Ngozi Udengwu, a Senior Lecturer in the Department of Theatre and Film Studies at University of Nigeria, Nsukka.
The Nigeria Prize for Literature has since 2004 rewarded eminent writers such as
Ikeogu Oke (2017, Poetry) with The Heresiad; Abubakar Adam Ibrahim (2016,
Prose) with Season of Crimson Blossoms; Sam Ukala (2014; Drama) with Iredi War;
Tade Ipadeola (2013; Poetry) with his collection of poems, Sahara Testaments;
Chika Unigwe (2012 – prose), with her novel, On Black Sister’s Street; as well as
Adeleke Adeyemi (2011, children’s literature) with his book The Missing Clock.
Others are Esiaba Irobi (2010, drama) who clinched the prize posthumously with his
book Cemetery Road; Kaine Agary (2008, prose) with Yellow Yellow; Mabel Segun
(co-winner, 2007, children’s literature) for her collection of short plays Reader’s
Theatre; Professor Akachi Adimora-Ezeigbo (co-winner, 2007, children’s literature)
with her book, My Cousin Sammy; Ahmed Yerima (2006, drama) for his classic,
Thursday, 15 March 2018
STEM education, alternative learning are vital for devt - STEM METS
STEM education, alternative learning are vital for devt - STEM METS
By Prisca Sam-Duru
STEM METS Resources, has reiterated its commitment to STEM Education in the country, through a strategic partnership with Airbus Foundation, makers of commercial aircrafts Airbus.
This enterprise, a Science, Technology, Engineering and Mathematics (STEM) focused social enterprise in Nigeria, encourages students to be better problem solvers, innovators, and creative thinkers, while preparing them for varying careers in the future workplace.
STEM METS is an organization which was founded on the premise, of creating a diverse way of learning, and to empower young students in Nigeria with skills required for the future global workplace. It is committed to nurturing, enriching and inspiring young minds by providing quality, innovative, alternative educational learning platforms.
The mission for STEM METS is to introduce STEM based programs and activities to children aged 3-16 across Nigeria which will inspire innovation and creativity.
Established in 2014, with over 4000 students reached in 12 schools, STEM METS Resources started its first initiative running the Bricks4kidz program in schools in January 2014.The initiative engages students using LEGO Bricks to deliver high quality, educational play that translates to learning; and also through several enrichment holiday workshops and clubs. Till date, the organisation has hosted 42 workshops offered as after school classes, holiday camps and field trips.
Most recently, the company has partnered with Airbus Foundation, a subsidiary of Airbus, to administer its robotics and aviation program to youths aged 11-16, through its workshop called Airbus the Little Engineer Workshop A380. The goal of the partnership is to support Nigeria’s
efforts in creating a sustainable pipeline of talent for Africa, encouraging students to embrace technology, and ignite a passion in them that can grow into a STEM career.
Speaking about the organization, founder, STEM METS Resources Jadesola Adedeji, said “STEM is the future for development in Africa and we believe that it is one of the tools needed to fully create a generation of innovators and contribute to sustainable economic development of
our nation, Nigeria. There’s a disconnect between skills required for the future workplace and skills our graduates possess as they enter the workforce - these skills need to be developed in
early childhood education and our curricula in Nigeria also needs to reflect this. It is also very important as a nation, to identify the importance of alternative learning for students and teachers
in our schools. Through practical STEM education, young students will be equipped with hands-on skills, to prepare them for their future, and the future of Nigeria as a whole.”
STEM METS Resources also supports governments, businesses and schools in developing strategic programs targeted at increasing students’ engagement in Science, Technology, Engineering and Mathematics.
Sunday, 11 March 2018
Undergraduates acquire skills at GTCrea8 Convention
By Prisca Sam-Duru
It was an overwhelming crowd comprising mainly students from tertiary institutions, that attended the maiden edition of GTCrea8 Convention for Undergraduates, held on Thursday March 8, at the University of Lagos, Akoka. The one day convention brought together undergraduates from universities across Nigeria who are passionate about technology, digital media, creative writing, fashion, makeup artistry and music production to interact with role models in their areas of interests. Organised by Guaranty Trust Bank plc, the GTCrea8 Convention which was highly innovative and entrepreneurial, featured Master classes facilitated by captains of industries who not only enlightened the undergraduates with practical knowledge in their areas of passion but also inspired them with their personal experiences on how to build a successful business career out of their passions even while as undergraduates. The various categories of the Master classes include; The Business of Creative Writing handled by Lola Shoneyin, author of The Secret Lives of Baba Segi’s Wives; Technology was facilitated by Iyin Aboyeji, Co- Founder and Managing Director of Flutterwave; Uche Pedro, Founder of BellaNaija taught the students Digital Media; Makeup Artistry was handled by Anita Adetoye, Creative Director of Anita Brows while Fashion Design was taken by Lanre Da Silva Ajayi, Creative Director of the self-named fashion label. Ms Lola Shoneyin who took the first master class in creative writing, began with narrating her journey through the writing terrain. She advised intending writers who could be in any faculty, to ensure they read voraciously, if they must become writers. Shoneyin also emphasised the need for them to attend readings, workshops, master classes, seminars and be around a community of writers. Rather than engage in activities inimical to their academics or future, Iyin Aboyeji advised students interested in technology to think outside the box and create something that could become a formidable platform for their self reliance when they graduate. Speaking about the GTCrea8 Convention, Managing Director and Chief Executive Officer of Guaranty Trust Bank plc, Segun Agbaje said the bank is committed to providing "Young people in tertiary institutions with a platform that enables them connect with peers and interact with role models in their areas of interest. With the lineup of activities and the wealth of experience shared at the event, I am confident that the GTCrea8 Convention will have a lasting impact in helping the undergraduates build successful careers.” "Guaranty Trust Bank plc has been at the forefront of supporting education for all and champions several initiatives that provide undergraduates with various avenues to learn, interact and have fun while in school. Beyond the GTCrea8 Convention, the bank also runs the GTCrea8 Education Support Scheme with which it offers financial support to undergraduates and the Campus Storms which brings Digital Skills Training as well as popular musicians and comedians to universities across the country.", He explained. Undergraduates acquire skills at GTCrea8 convention Show quoted text
Saturday, 10 March 2018
7 female artists raise alarm on women's mental health
7 female artists raise alarm on women's mental health
By Prisca Sam-Duru
The Wheatbaker is proud to host the third edition of the all-female Standing Out exhibition
titled, UNMASKED, which is curated by SMO Contemporary Art and honors women across the globe.
Opening tomorrow, 11th March, UNMASKED presents the powerful and energized artwork of seven female artists who have strong links to
Lagos but come from different parts of Nigeria, Cameroon, the Gambia, India, and the United States: Nengi
Omuku, Djakou Kassi Nathalie, Somi Nwandu, Nyancho NwaNri, Koromone Koroye, Reha Shishodia and
Queen Nwaneri. The exhibition explores women’s mental health through 35 paintings, photographs, digital art,
ceramic sculptures, poetry & spoken word performance and a large multi-media string installation.
This year’s Standing Out exhibition departs a little from the highly publicized women’s issues such as lack of
access to education, gender based violence, and the need for economic equality, to delve in to the complex
world of women’s mental health which clearly impact their ability to fight for recognition and equality.
According to the World Health Organisation, over 7 million Nigerians suffer from depression and 4.8 million
Nigerians (2.7% of the population) suffer from anxiety disorders. World wide just 3% of total government
spending is for mental health.1 The UNMASKED exhibition is the brainchild of two emerging curators, Nneoma
Ilogu and Moni Oloke, who are both health professionals and have been focusing on art through their work at
SMO Contemporary Art.
“We believe that art is an important tool for advocacy and change in society,” the two curators explained during
the press preview. “We choose artists who have a strong message and presence, and could help to publicize
the need for society to focus on the mental well being of women.”
The exhibition explores complex questions of identity, breaking down stereotypes, and dealing with societal
pressures in the congested, over-populated mega-city of Lagos. The artists explore diverse emotional
mindscapes and question what lies behind the mask: how do we break down societal constructs on what it is
and what it takes to be a woman in a male dominated society? How do women explore and present their true
multi-layered selves, and inspire others to demand for justice, break through glass ceilings, avoid society’s
obsession with perfection, tear down walls of shame and guilt, and rip off these stifling emotional masks.
“UNMASKED is a bold and honest expose of what goes on within women’s mindscapes through the intricate
and emotionally charged work of these phenomenal artists,” said Sandra Mbanefo Obiago, Founder & Artistic
Director of SMO Contemporary Art, the Wheatbaker’s long standing art curator. “We are excited that the hotel
can advocate for better support for mental health in Nigeria by providing an important platform for these vital
issues to be addressed through art.”
UNMASKED runs from March 11th to May 4th, 2018 and is supported by Louis Guntrum, and the Wheatbaker
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