By: Mathew B. Oyedele
It is not out of place to say that the euphoria of the inclusion of Nigeria in the oldest cultural biennale still clouds the Nigerian art world with diverse opinions, essays and comments circulating the media through personalities that thread the path of art. This development has created a platform of discourse among connoisseurs and art enthusiasts in Nigeria and Africa.
It is not out of place to say that the euphoria of the inclusion of Nigeria in the oldest cultural biennale still clouds the Nigerian art world with diverse opinions, essays and comments circulating the media through personalities that thread the path of art. This development has created a platform of discourse among connoisseurs and art enthusiasts in Nigeria and Africa.
Nigerian art is currently witnessing
an influx of creativity and has rapidly risen to a phenomenal stage that stamps
its feet in global arts discourse. Its energetic artists are constantly pushing
and questioning conventional boundaries through research-based works of art and
record-setting sales at auction houses. What then delay Nigeria’s appearance at
the Venice biennale? African art has largely been under-represented at the
Venice biennale with currently only seven African countries out of 54 proposed
to be represented with national pavilions in this years’ biennale.
Through the relentless effort of
Nigerian artists, Nigeria is among the countries that will be participating in
the 57th international art exhibition in Venice this year. Three
Nigerian artists have been selected to represent the country by the curators of
the Nigerian pavilion. Peju Alatise will
present “Flying Girls,” an
installation of eight winged life-size girls, based on the story of a
10-year-old girl who works as a housemaid in Lagos while dreaming of a realm
where she is free and can fly. Victor
Ehikhamenor will present “The Biography
of the Forgotten,” a large-scale work fusing abstract shapes with
traditional sculpture, informed by an investment in classical Benin art and the
effect of colonialism on cultural heritage.
Qudus Onikeku on his part, will stage a display of “Right Here, Right Now,” a trilogy of performance films, presented
as an investigation through dance of the workings of body memory and its
connection to national consciousness.
The themes of the selected artists
obviously synthesize traditional and modern ideas with the contemporary by
seeking out meaning from meaning, idea from idea and form from form. Peju’s
works will invoke fantasy and hope while Ehikhamenor will create an ambience of
history, experience and nationhood as well as bridging the interstice between
memory and remembrance. Qudus Onikeku’s performance will present an awareness
of the body for national responsibility. Nigeria in Venice is themed ‘How about
Now’.
This development is applaudable but
more work needs to be done to sustain the foundation that has just been laid.
The horizon of Nigerian art needs more expansion through explorations that are
unpredictable, engaging and dynamic. This requires artists’ response to
situations and happenings in their immediate environments and oneness of art
organizations. One such move to sustain Nigeria’s appearance in biennales is
the commencement of the Lagos biennale, organized by the Akete Art Foundation.
This will present the country as major art capital and a rendezvous of critical
discourse.
Let us create a lasting identity in
the pages of biennales, an enduring impression in global artistic
representation, an engraved mark of passion, commitment and honour, and a voice
that echoes for centuries.
Featured works: Peju Alatise, "Flying girls 2017"
Victor Ehikhamenor
This is a huge opportunity for us Nigerian artist to redefine our art to the Global Art world. A Wonderful piece you've done Matthew.
ReplyDeleteThank you Oga mi.
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