ANTI-SEMITISM: Documenta hit with new allegations

          

The curators of the contentious Documenta 15, which opened in Kassel, Germany, June 18, are facing the latest in a string of allegations that they have allowed the display of anti-Semitic work. The complaints this time focus on a 1988 brochure by the Archives des Luttes des Femmes en Algérie, an Algerian women’s collective that seeks to situate the struggle for independence in Algeria alongside other battles, including that between Palestine and Israel. The brochure contains a portrayal of an Israeli soldier whose face resembles that of a monkey, with a Star of David on his helmet. The figure, which is similar to others appearing in the pamphlet, is being kneed by a woman.

Among those who contend the work is anti-Semitic are the right-wing German Jewish organization Werte initiative (Values Initiative) and the Jewish group Rias Hessen, which is based in Kassel’s home state of Hesse. Representatives for both Hesse and Kassel have called for the removal of works by the Archives des Luttes des Femmes en Algérie, as has German culture minister Claudia Roth, who at a July 28 press conference asserted, “It is right and proper that the partners of the Documenta have now asked the artistic direction to remove these drawings from the exhibition.” According to German daily Die Welt, a Documenta spokesperson confirmed that exhibition official had already reviewed the work and dismissed allegations that it was anti-Semitic, noting in a statement, “There is a clear reference to the Israeli-Palestinian conflict, but no illustrations of Jews as such.”

The 2022 iteration of the esteemed quinquennial, curated by the Indonesian collective ruangrupa, has been a magnet for controversy. The group in January were met with the first of many allegations that they were anti-Semitic. These accusations stemmed from the curators’ inclusion of several artists who, alongside Jewish signatories, had condemned Germany’s 2019 anti-BDS Resolution as a “threat to artistic freedom and freedom of speech.” The measure labels the Boycott, Divestment, Sanctions (BDS) campaign against Israel as anti-Semitic and thus illegal, as anti-Semitism is a crime in Germany. The accusations followed ruangrupa in the run-up to the event’s opening, with the curators organizing a series of talks on the subject of artistic freedom that they abruptly canceled, after which a Documenta venue hosting a Palestinian collective was vandalized.

Days after the exhibition’s opening, a huge 2002 banner by Indonesian collective Tarang Padi titled People’s Justice and hung in one of Kassel’s main squares was found to contain anti-Semitic images, including that of a pig labeled as a member of Israel’s secret service, and a rendering of an Orthodox Jewish man sporting fangs and a black derby hat emblazoned  with the insignia of the Nazi SS. The work was initially covered up and then hastily removed. Both ruangrupa and Tarang Padi apologized for their part in the work’s inclusion, with ruangrupa’s Ade Darmawan going before Germany's Bundestag to speak about the matter.

In early July, key adviser Miron Mendel, head of the Anne Frank Institute, cut ties with Documenta, and filmmaker Hito Steyerl removed her work from the show, telling the New York Times, “Documenta has let this debate eclipse everything else.” On July 16, Sabine Schormann stepped down from her post as director of Documenta. Two days later, ruangrupa and a number of artists participating in Documenta 15—including Tarang Padi, Archives des Luttes des Femmes en Algérie, and Question of Funding, the Palestinian collective whose space was vandalized—published on the e-flux platform an open letter in which they spoke out against discrimination and censorship and reminded the public of the racist and violent attacks they faced in their efforts to mount the exhibition.

Documenting the living legends and their legacies

           

Prof Ugiomoh

The celebration of legends takes various forms. The essence, however, appertains to entrenching positive history in a defined reward, a recognition of an accomplishment, an identity, a lasting cultural imprint, etc. However, modes of reward come in diverse ways and cultural activities. 

              History in all ways relates to things documented in natural or artificial processes. Artificial processes relate to the creation of culture. An aspect of the endowments of the human revolves around creating culture, as additus culturae, one who creates or adds to culture. In this sense, culture becomes qualitative, enriching the human family. History bears evidence of persons with enviable and outstanding impacts on society in one way or another. Recognitions within a cultural space emanate from accomplishments readily agreeable as a worthy testament within a society. However, a society’s spectrum accommodates diverse vocations and concerns; hence not monolithic. Legends constitute individuals whose impact on their society comes from the way they engage their vocation in extraordinary ways. Furthermore, legacies in societies acquire their status about legendary personalities from societal consensus and judgements.

             Documenting the Living Legend by the Living Icon Foundation (LIF), over the years, defines a unique dimension as a cultural activity of note. Despite the earlier definition of the word legend, it has an overall jaunty connotation. Hence, in the engagements by LIF, an adjudged legendary personality acquires flesh in an organised activity involving posing and modelling or presentness. A seeming demystification of the legend takes centre stage here. A corporeal encounter ensures that an appreciation of adjudged legendary personalities remains profound. The Apostle Thomas Dydimus’s legacy evokes thoughtful inspiration where presence coheres with the ideal. Placing a face on a legend strengthens the obscure values we often nurse or imagine.

The LIF honours its chosen legends for an occasion by inviting some draughts persons and other artists adept at other mediums in its agendas. A chosen icon poses for rendition in any convenient medium by artists. Sessions with the icon involve making sketches from his poses. Ordinarily, it would appear a commonplace activity. Conceptual/notional complexities trail procedures that lead to a finished artwork. Narrating such depths of engagement by the artist constitutes another subject. 

Moreover, portraiture comes as an intriguing dimension of the artist’s work. Portraiture is the window to the individual seen in the clusters in the face. The eye finds its location in the face. The Egyptian Philosopher Plotinus (204/5-270 AD) considers the eye sunlike hence a window to the soul and the source of apparent radiant energy that enlivens our being. Life gains form and identity with the face. 

The art of portraiture has, over the years, gained notoriety for exactness and inexactness. When Michelangelo Buonarotti (1475-1564 AD) made a sculptural portrait of Lorenzo de Medici – a Medici family patriarch- and delivered an inexact representation of his subject, he received a subtle reminder about his deviation from a general resemblance. His response? “In a few years hence who would remember his looks,” he queried. The flip to the Michelangelo narrative comes from the Baroque artist Rembrandt Van Rijn (1606-1669 AD), whose portraits captured inner emotions that were beyond mere facades. That gift earned him great disrepute as a portrait artist. Therefore, accessing a subject’s persona from an artist’s perspective presents many complexities. However, some artists in history have proven their dexterity as portrait artists. Engaging their self-portraits times without numbers accounted for their secrets. Such artists include, but not limited to Leonardo da Vinci (1452-1519), Albrecht Durer (1471-1528), Rembrandt Van Rijn, Aina Onabolu (1882-1963), and Ibe Ananaba.

In this ninth episode, the LIF presents Dr. Biodun Shobanjo. The usual fun comes with it in all flurries. Anticipating the outcome in this edition, let us remember Paul Cezanne’s famous quote: “I have not tried to reproduce nature; I have represented it.” He continues, “If I were called upon briefly to define the word art, I should call it the reproduction of what the senses perceive in nature, seen through the veil of the soul” (my emphasis). Therefore, our engagements bear a load of complexities, yet with simple outcomes. Our results, in anticipation, underlie history’s essence – to add to what the past becomes as history and memory. As an artistic activity, we will etch our subject in indelible materials and mediums, standing for the genie for which worthy characters have won our admiration and engagements/endeavours every so often while creating culture.

Frank A. O. Ugiomoh, Professor of history of art and theory and Omooba Adedoyin Yemisi Shyllon Professor of Fine Art and Design, University of Port Harcourt wrote 'Legends, Legacies and histories' as Forward for the 9th Living Icon series, held on June 19, 2022, at Didi Museum, Victoria Island, Lagos.

Auction of Modern and Contemporary Nigerian Arts by Artsplit hits Lagos

         

As a pioneering art trading platform for African art, Artsplit has announced its maiden MOCONA - a Modern and Contemporary Nigerian Arts Auction due to take place from 15 - 31 July. This first-of-its-kind auction, titled 'Ode to Mastery', holding at Hourglass Gallery - 979 Saka Jojo St, Victoria Island, Lagos will feature five prominent Nigerian artists who are key drivers of the contemporary art scene on the continent: Abiodun Olaku, Duke Asidere, Edosa Ogiugo, El-Dragg Okwoju and Oliver Enwonwu. The auction's VIP closing event is on July 31st by 6 pm at Hourglass Gallery. ARTSPLIT app allows users to own fractions of prominent African artworks, also known as "Splits," and keep or trade them on the app if they win the "Split Auction." The Splits allow multiple people to co-own a single iconic piece of art, which no other art platform allows. Users can also participate in a 'Lease Auction' on the app to win physical custody of these split artworks for a set period. The MOCONA auction will be a split auction, followed by a lease auction of individual works from these 5 artists. Both auctions will run for two weeks (July 15th- July 31st). The works will also be available for physical viewing at Hourglass Gallery - 979 Saka Jojo St, Victoria Island 106104, Lagos for the auction duration from July 25th till July 31st and online from July 15th. The event follows the successful inaugural auction held in May, where Ben Enwonwu’s 1977 artwork ‘Agbogho Mmuo’ from the Ogolo series was valued at $105,000, as well as ARTSPLIT’s debut at the 59th Venice Biennale, where the platform partnered with The African Art in Venice Forum (AAVF) and the South African pavilion at the 59th Venice Biennale in 2022. Famed for his highly finished and detailed depictions of Nigeria's cities and landscapes, Abiodun Olaku is generally considered one of the country's most accomplished oil painters. Olaku largely works in the traditional medium of oil; however, his work is not stuck in the past. The artist explores new horizons within established methods and techniques open to innovation. 'Portrait of A Beggar' (17 x 9.5 inches/43.18 x 24.13 cm, unframed, oil on canvas, dated, 1994), by Abiodun Olaku El-Dragg Okwoju is an esteemed oil painter known for his vibrant depictions of Nigerian culture. Women are the subject matter at the core of Okwoju’s practice, often caught in an abstracted and ephemeral moment of ordinary life like dancing and celebrating life. Duke Asidere expresses himself in thick, bold strokes through various media, including pencil work, oil, acrylic, pastels and transparencies. Having been raised in a female household, he has become known for his inquisitive portrayal of women in works that explore concepts like politics, society, culture and psychology – his architectural series offers a fresh perspective of Africa and his number plate and spray series have underlying political statements. Ogiugo is one of Nigeria's most famous artists for his large canvasses of equestrian and dancing scenes. His fascination with horses began after a visit to his wife's family in northern Nigeria. For Ogiugo, the technical challenges of mastering his subject matter inspire him more than anything else. Oliver Enwonwu comes from a long line of remarkable artists, such as his grandfather, a reputable traditional sculptor, and his father, Ben Enwonwu, widely known and celebrated as Africa’s most celebrated pioneer modernist. Enwonwu interrogates the complex layers of history between Africa and the West in his body of work. 

'Death of honour' by Duke Asidere

 The complete list of works available at the auction and links to buy splits are as follows: Abiodun Olaku, ‘The Seeker’ (Portrait of a beggar), 1994 El-Dragg Okwoju, Euphoria, 2022 Duke Asidere, The Death of Honour, 2022 Edosa Ogiugo, Market Day in Dalston, London, 2017 Oliver Enwonwu, Rite of Passage, 2022.  By presenting MOCONA, ARTSPLIT intends to raise the profile of these artists further and introduce them to a new set of diverse art collectors and investors, which would ultimately boost the status of both their works and the platform. Indeed, this is the new ART ECONOMY! 

Artsplit is an art trading technology company driven by one common goal; enhancing the investment status of African art by allowing users to co-own rare and valuable artworks on a platform that guarantees price discovery and market liquidity. Our mission is to position African art & artists as the preferred alternative investment choice by developing the African art ecosystem through technology and co-ownership. We believe that in this way, we can make wealth accessible through alternative investments. The platform (ARTSPLIT mobile app) allows art lovers to own fractions (also known as Splits) of prestigious African artworks, which they can trade in real-time. ARTSPLIT also provides opportunities for owners of investment-grade African art to list their works and have them evaluated and sold to members of our community. ARTSPLIT also offers advisory and management services for art collectors, which are personalised to requirements to manage art portfolios online fully and on offline platforms.

Reminiscing on the booming days of Nigerian art

'Anyanwu' by
Benedict Enwuonwu

Nigerian art has come a long way. A look at the heydays of Nigerian art will bring to mind names like Akinola Lasekan, Uche Okeke, Yusuf Grillo, Benedict Enwuonwu, and  of course, Bruce Onobrakpeya. 

From 1900, these aforementioned artists and more, charted the course as pioneers of modern Nigerian art. Beginning with Aina Onabolu, who was the ‘father of modern Nigerian Art’. Onabolu, a self-trained portrait painter, was the first Nigerian artist to be trained abroad. Returning in 1923, Onabolu made a lot of efforts to see to the inclusion of art in the educational curriculum of our schools. Even though, challenges were encountered, his doggedness led to the production and discovery of more artists, thereby ensuring the reawakening of many artistic potentials.

Making a recall of the beautiful years of the past in Nigerian art will no doubt garnish one’s brain with fond memories. It was during those period that Prof. Benedict Enwuonwu was discovered by Kenneth C. Murray, an expartriate teacher employed by the government, at Umuahia Government College. Enwuonwu was flown abroad on scholarship courtesy of Shell company, studying first at Goldsmith College., followed by Ashmolen, Oxford, and then later the famed Slade School of Art in London., all in Britain. After his academic sojourn abroad, Enwuonwu returned back to the country in 1948. Upon his return, he was appointed an Art Supervisor by the Federal Government, and later rose to the position of Art adviser. Benedict Enwuonwu is no doubt one of the best artists to ever come out from Africa nay Nigeria. He was the first internationally acclaimed artist, whose talent and skills put Nigeria on the art world map.

In 1951, an Art Club arising from the involvement of the students of Keffi Government College in painting and drawing of the ‘Flame of the Forest’ trees, was born. This was inspired by an expartriate teacher named Dennis Duerden who was posted to teach in the school. On several occasions, the man would sit under the luxurious mango shades to paint or draw the ‘burning’ trees which was punctuated in the background by the students’ grey round mud huts. He was later joined by the curious students, who were impressed by his ability. Even the wife of the Lieutenant-Governor of the Northern region of Nigeria, Mrs Sherwood Smith, joined them occasionally. This activity gave birth to the first regional art festival at Kaduna community centre, during which most of the students won prizes for their various paintings. An ‘Art school’ was born and the most favourite subject was the ‘Flame trees’. Equipment increased and students’ participation grew. Whenever the students felt the urge to paint or draw, they will retire into the art room. Some even painted in the night! They were doing real art. Their works which were exhibited in various places in Nigeria, United Kingdom and United States, drew a lot of good comments from art critics.

One of the most memorable events that shaped the Modern Nigerian art history was the ‘Zaria revolution’. They were a group of artists popularly called the ‘Zaria rebels’, who pushed against the dominance of white staff in the department of Fine Art in the then Nigerian College of Art, Science and Technology (Now Ahmadu Bello University, Zaria). These artists which include names like the late Simon Okeke, Solomon Wangboje, Grillo, Jimoh Buraimoh, Nwagbara and some others were also against the curriculum which was Western in outlook and practice. Their efforts led to, among other things, the infusion of Nigerian traditional motifs and designs in their works, thereby developing Nigerian and African identity. Nigerian art during these past years were worthy of mention and also enjoyed good amount of awareness and patronages., thanks to efforts of the pioneer artists, whom today, are acclaimed masters. Most of them exhibited abroad, and their works are in both private and public collections within and outside Nigeria.

Regrettably, the reverse is the case today, as there are not many art practitioners and scholars. Artists are among the least represented professionals in our society today. This is also reflected in the educational sector where the ratio of art students in comparison to other students is roughly 5:20. This shows that there is a sharp decline in the number of art scholars. Ironically, some people with art potentials don’t want to study the discipline formally.

Culled from: https://www.sunnewsonline.com/reminiscing-on-the-booming-days-of-nigerian-art/

Ngaire Blankenberg to lead National Museum of African Art

Ngaire Blankenberg

The Smithsonian has named Ngaire Blankenberg as the next director of the Museum of African Art. Blankenberg, a member of the African diaspora and a longtime arts consultant with a history of helping museums and cultural organizations become more inclusive and engaged with their surrounding communities and the world at large, assumed leadership of the Washington, DC, institution July 6. She succeeds interim director Deborah Mack, who stepped in after Augustus Casely-Hayford left the post in March 2020. “The National Museum of African Art embodies the Smithsonian’s mission to foster understanding, inspire dialogue and bring people together irrespective of language, culture or border,” said Lonnie Bunch, the Secretary of the Smithsonian, in a statement. “Ngaire’s leadership and experience will be invaluable in using the museum’s unparalleled collections and scholarship of African Art to further our reach, diversify our audiences and have a more profound impact on the nation and world.” Blankenberg holds a BA in journalism from Carleton University in Ottawa, Ontario, Canada, and an MA in media and cultural studies from the University of Natal, in Durban, South Africa. In recent years, she has helped a number of organizations come up with decolonization plans and assisted them with concept development and public engagement strategies. Among these are Ottawa’s National Gallery of Canada, Miami’s Superblue, Johannesburg’s Museum and Archive of the Constitution at the Hill, Winnipeg’s Canadian Museum for Human Rights, and Geneva’s Musée d’ethnographie. Previously, Blankenberg was head of strategy at Amsterdam design agency Kossmanndejong, and before that she served as director of Lord Cultural resources, after assisting that outfit as a consultant for nearly a decade. “Museums are institutions that carry a lot of systemic baggage from their colonial origins, but they are vital public spaces to reconsider how we connect and contend with one another and the planet, and where we can redefine, heal and reconcile,” she noted in a statement. “The National Museum of African Art sits physically in a city with one of the biggest populations of African peoples in the U.S. Digitally it reaches far into the diaspora. I am so grateful for the trust being placed in me to continue to care for, build, interpret and share NMAfA’s fantastic collection, particularly in this new era of US-African relations.”

Society of Nigerian Artists set to elect New leader

Muhammad Sulaiman

 As the next congress of Society of Nigerian Artists (SNA) holds, virtually, on July 10, 2021, a sole candidate, Muhammad Sulaiman for the professional body's office of the president seems like a concluded "arrangement."

The election was earlier scheduled to hold June 27, but shifted for about two weeks. There have been quite a number of reasons — including suspicion of plans to rock the boat of the "arranged election"— that led to the postponement.

Founded in 1963, SNA was formally inaugurated in January 1964 with Yusuf Grillo as President and Tayo Aiyegbusi, Vice-President. The group is currently being led by Oliver Enwonwu whose tenure expired two years ago. 

Quite a number of issues had led to the postpon- ement of the professional body of artists' delayed elections. Among such was the Covid-19 pandemic crisis of last year. Also, could it be that the arrange- ment for a sole candidate was built on feeble basement, which perhaps led to the shift in date? "Not at all," Enwonwu replied during a chat on the delayed elections.

Running with Sulaiman as Vice is Dotun Alabi, a former SNA Chairman, Lagos State Chapter. The current president, Enwonwu, coincidentally, was also elected as a candidate from the Lagos Chapter in 2012.

And why a sole presidential candidate for such a professional body of artists whose membership cuts across practitioners of full-time studio practice and within and outside the academia? The consideration for "balance," a source who did not want his name mentioned disclosed. The northern part of Nigeria, the source explained, has not produced SNA president since the body was founded nearly 60 years ago "despite having so many members as artists from that part of the country."

  

Dotun Alabi, Vice Presidential candidate in SNA general elections 2021.

Some kind of "arrangement" in electoral process to produce the president of SNA has an antecedence. In 1989, Dele Jegede was elected as President of SNA ending his tenure in 1992 in what was described then as "a coup" necessary for "rescue mission" aimed at saving the group from a protra- cted crisis. Again, when there was return of unreso- lved crisis with SNA for many years, Kolade Oshinowo got elected in another alleged "arranged election."

  

Who is Sulaiman, (fsna)?

Excerpts from his bio/CV;

He has exhibited his works in notable cities (Paris – France, Philadelphia, Los Angeles – USA, Port of Spain, Trinidad and Tobago, Colombo – Sri Lanka, Nanjing – China, etc.) across the globe with his most recent in Abuja, Nigeria in 2017.

He is the President of the Abuja International Open Art Expo, one of the fastest growing art events outfits in Nigeria with exhibiting artists from around the globe. This indeed puts him at the forefront of art exchange in Nigeria.

Muhammad’s efforts in practicing and promoting art events between Nigeria and China, earned him the prestigious Chinese Government's Award for Cultural Exchange in 2013. President, China Alumni Association of Nigeria;

  Fellow’s Award SNA, July 2014; Distinguished Painter of the Nanjing Painting and Calligraphy Academy, China, 27th June 2012; and Disting- uished Ambassador of Nigerian Art in 2011; Award of Service, University of Abuja Nigeria in 2014. 

He has been the past President, Rotary Club of Asokoro, Abuja;  Chairman Society of Nigerian Artists FCT; and Director, Open Mic Nigeria, Abuja.

 

Muhammad Sulaiman is Head, Public Relations and Bilaterals at the FCTA Arts and Culture, SDS, Abuja.

A Bomb from Praise Rufus: The Rising of a New Dawn

" The cruelty of the global pandemic 
seems limitless. 
So many broken promises, 
broken connections and broken hearts.

In the midst of chaos, 
These difficult times gives us the opportunity to look inward,
reflect on what truly matters, and connect with ourselves and our loved ones on a deeper level.

What lies behind us and what lies ahead of us are tiny matters compared to what lies within us.
Cause the long awaiting dawn is here ".

Artist: Praise Rufus
Title: The Rising of a New Dawn
Medium: Digital Art
Size: 24 x 36 inches 

Such is the powerful message in this amazing digital art by Praise Rufus. You will no doubt fall in love with, and marvel at this excellent work. The artist has once more demonstrated her creativity and dexterity in the use of any media to pass a message across or express feelings. Here is an artwork the female folks will love to look at everyday! Decked in blue, in what appears to be a cotton sweater, with a blue Gele to match, this beautiful piece invokes admiration and awe at the same time. And who will not love those designs on the clothing and the headgear? The blue colour and the floral patterns are what enhanced the attractiveness of this masterpiece., lest we forget, the facial flower is also there! 

However, the artist seems to have intentionally made the human 'black' complexioned. Dark is used to represent the black race or Africanness, and black as we all know is beautiful. Kudos to Praise Rufus for an amazing creation.  

Beaming the Light on 'Raven's Visit' by Diyen Dan.

 

Raven's Visit by Diyen Dan

   Title : Raven's Visit.

   Medium : charcoal on chipboard .

   Size 120cm by 90cm.

  

Nigerian artist Diyen Dan has once more shown his mastery of charcoal pencils in this skillful piece. Picking his support being Chipboard, his fingers did the magic of bringing to life a lively bird enveloped in a friendly dance with a human that appears to be embattled. While this exciting piece may elicite some feeling of disgust and shun, Diyen Dan in describing this work, posits that "Seeing ravens often signifies that you have a strong, mysterious energy force in your life. They may show up when you feel you need to reflect on your character and your life as a whole . Perhaps your strong energy may influence others in a negative way, so this bird shows up when you need some introspection". Such is the admiration in this work by a gifted artist, whose many pencil renditions leave viewers in awe.

How far with the recurring Lockdown? Find out from Artist Emmanuel Chidubem Okonkwo

'Lockdown' by Emmanuel Chidubem Okonkwo

 In a time when the Corona Virus pandemic is still ravaging the world, it has also brought with it forced starvation and hunger, orchestrated by incessant lockdowns enforced by embattled government seeking to contain the spread and menace of the virus. 

In the midst of all these, Nigerian Visual artist Emmanuel Chidubem Okonkwo came up with an amazingly beautiful piece that captured the helpless situation of people world over as the virus continued to scourge. Standing at 20 by 24 inches, 'Lockdown' depicts what has being happening thus far as a result of the Covid-19 pandemic.The poor young boy in the painting, with a sullen sorrowful eyes, is seen battling with the pang of hunger as he clinches a metal-like bowl soliciting for food. Not knowing what tomorrow holds for him, and being aware of the millions of people the raging virus has cut short their existence, he is seated alone, in observance of the social distancing measure. A more closer look at the lad reveals him donning the traditional nose mask.

This is unarguably a masterpiece from the artist, and he for sure deserve commendation for this historical creation. This piece will stand the test of time as generations unborn will surely know about the Corona virus menace, that respect no gender, status or race.

In an all-over repeat pattern rendition of strokes which flows into each other in similarity and harmony, Emmanuel Okonkwo has served us another delicious dish which we'll always revere. 

When Stephen Daniel Ose's piece enkindle HOPE

The socio-political and economic landscape of Nigeria has being on a recurrent downward movement since after gaining independence in 1960. It has being from one National challenges to another, leaving one with nothing other than hopes hanging in the balance and surrendered fate enmeshed in wasteful daydreaming. 

Stephen Daniel Ose captured and expressed the gory situation in a country that was dubbed the 'giant of Africa, through his work titled 'HOPE'. A remarkable Mixed media artist, his work describes a "Nation divided; a Nation now living with hunger; scared of walking around because of insecurity. When we see a Policeman, herdsman, militant, petty thief, area boy, the first thing we do is to hands up and say don’t shoot. All I just want to say is that there is hope and a future for Nigeria. We need to be better citizens, we need to join hands with our fellow Nigerians, irrespective of region and religion, to bring Nigeria ever closer to the dreams of our Founding Fathers, Many people are losing HOPE, feeling that we are in dark situation but this is not true, because in every situation there is a solution, even when we feel we are in a bad situation, we have to remember that small light can change a situation".

'Hope' by Stephen Daniel Ose 

Such is the beautiful message in this work rendered in Pen and Newspaper prints on paper. This expressive rendition leaves no one in doubt that tomorrow will indeed be great and bright for a country that is a pride to the black race.

  

How Oloidi exposed link between artists and pre-independence Nationalists

 Prof Ola Oloidi (1944-2020), was an Art historian of great repute at University of Nigeria (UNN), Usukka, Enugu State. His contribution to the enrichment of Africa’s visual culture space will keep enduring. Oloidi died on Monday, November 2, 2020.

Among Oloidi’s many public lectures outside his academia practice was the historic one he delivered at the fourth edition of Yusuf Grillo Pavilion, in April 2012. The event was an edition dedicated to the celebration of Prof Uche Okeke’s art.

Prof Ola Oloidi, during his lecture at Grillo Pavilion 2012. Pic: c/o Yusuf Grillo Pavilion

In the historic lecture titled 'Uche Okeke: An Endearing Embodiment of Art Revolution in Nigeria', Oloidi recalled that though, Okeke (1933-2015) had imbibed the art philosophy of Akinola Lasekan and Aina Onabolu, there came a sudden and “new ideologically instrumental direction.” Oloidi, a colleague of Okeke at the University of Nigeria noted that the hustle and bustle of political movement by Nigerian nationalists such as Nnamidi Azikiwe, Obafemi Awolowo, Aminu Kano, Anthony Enahoro and Eyo Ita energised the artist's work.

Oloidi disclosed how Okeke explained being “naturally constricted into the invisible army of nationalistic revolution that was targeted at a non-physical war against colonization.”

The art historian stressed that it would have been impossible for the then young and dynamic artist like Okeke not to notice the radical changes taking place around him, particularly when Lasekan, his master, was artistically employing creativity to fuel the burning political tension in the country.

“It was the period the Nigerian political climate began to change with that desire for an all embracing and un-parasitic freedom," Oloidi told guests at the 4th Grillo Pavilion fiesta. "It was an age that Lasekan, also an artist-nationalist, used his cartoons in the West Africa Pilot of Azikiwe, to fight colonialism." Oloidi recalled how Lasekan said, ‘I had to give Zik the political art so as to make him complete his political act’.”

Oloidi argued that it was therefore a natural transition when Okeke, later, as a student at Nigerian College of Art, Science and Technology (now Ahmadu Bello University), Zaria, in 1958 gathered his colleagues to form a group that radicalised art in the country, “which he named Zaria Art Society.”

Prof Oloidi asserted that the group’s pioneer members such as Prince Demas Nwoko, Simon Okeke, Bruce Onobrakpeya and Yusuf Grillo “all embraced Uche’s ideology of ‘natural synthesis’ and helped bring actuality in the society’s well processed objectives.”  Okeke’s ideology, Oloidi noted, was not really popular among the generality of students. However, few students who were not members of the society, like Jimoh Akolo, he said, embraced the ideology too.

He summarized the society’s art ideology thus: “Among other many nationalistic and culturising activities, the members of the Zaria Art Society, or more particularly, the more aggressive Demas Nwoko, Onobrakpeya, Grillo and Simon joined Uche – though in their private period – to start producing art works that were violently instructed in African traditional art formalism. In fact, their ‘anti-academic’ imageries were visually aggressive and technically rebellious.”

Still on Okeke’s radical art, Oloidi argued that the artist’s “modernisation of the traditional Igbo uli body art, is his most creative achievement.”

The art historian noted that Okeke, after his college education, “devoted attention, very fanatically, to the study of uli.”

The Yusuf Grillo Pavilion was launched in 2009 as a resource centre for the promotion of Nigerian art. So far, all the artists celebrated by the Grillo Pavilion are members of the Zaria Art Society otherwise known as ‘Zaria Rebels,’ in Nigerian art parlance.

In 2010, it was Onobrakpeya’s event, and Prof dele jegede delivered the lecture. Last year, a renowned architect, Prof. John Godwin gave the lecture at another Zaria Rebel, Prince Nwoko’s celebration.

Earlier, at the 2012 edition of the Grillo Pavilion fiesta, the founder, Chief Rasheed Gbadamosi (1943-2016) in his welcome address tagged ...As We March On Ceaselessly… noted thate there was a “ferment in arts consciousness” during the late 1950s, “which was parallel to the political emancipation story of Nigeria.” Gbadamosi said the literary thoughts of Okeke “blossomed then and it continued in the wake of the civil war. His restless soul engendered the birth of another school, Ulism, a portrayal of the depth of artistic creativity.”

He argued that aside Lasekan, Okeke also “hobnobbed with expatriates such as J.G.C Allen, Dennis Duerden, T.M Evans of the Nigerian Broadcasting Corporation, and had even met Bernard Fagg, the renowned ethnographer.”

Gbadamosi assured that Grillo Pavilion would continue searching for the “authentic intellectual underpinning of modern art in Nigeria.”

The exhibition of Okeke’s work at the Pavilion was declared open by His Royal Highness, the Obi of Onitsha, Igwe Nnaemeka Achebe.

During the interactive session, Okeke’s colleagues — Nwoko, Onobrakpeya and Akolo shared the experience of their Zaria days. Nwoko said “Uche was a wonderful colleague; with him no dull moment. I am glad we (Onobrakpeya, Grillo, Akolo) are alive today.”

While Akoko admitted that “I used to be on my own, though later shared the society’s ideology,” Onobrakpeya disclosed that he gained from Okeke’s penchant for documentation, adding further that, “I personally gained from Uche’s documentation of Igbo culture, which inspired me to also document Urhobo.” Onobrakpeya recalled how Okeke “would tell me ‘just write and don’t worry about the grammar, somebody else would put it right.” 

For the exhibition, some of the works, according to Gbadamosi, were on loan to Grillo Pavilion. The donors, he disclosed include Prince Yemisi Shyllon “who has allowed us to raid his priceless collection of the exalted works of Okeke.”

You can Read more at Kings Ndubuisi

US Court of Appeal rule against sale of African artifacts

Pair of Igbo Statues Attributed To The Master Of Awka Couple, Nri-Awka Region, Nigeria.

About three weeks ahead of Christie’s and Sotheby's sales of suspected illicit African artefacts, a ruling by US Court of Appeal — in an unrelated issue — has strengthened the power of sovereign states to stop commercial transaction of cultural objects.
In 2018, Greece prevented Sotheby’s from selling an ancient equestrian statue over questionable provenance and demanded that the sculpture be returned to the country. In response, the auction house challenged Greece’s claim in court. And on June 9, 2020, the US Appeal Court, according to quite a number of media reports, ruled that Sotheby’s cannot sue Greece because the country’s interest in the artefact was non-commercial.
Later this month, specifically, June 29, artefacts of West African origin, including some from Nigeria, Gabon and Benin Republic are going on sales at both Christie’s and Sotheby's different auctions. Also, over two weeks ago, a notice to stop sales of Nigerian origin artefacts by Barakat Gallery, London, UK and Seoul, South Korea has been recorded. Like the Greece’s contentious equestrian object, the African artefacts that the auction houses have publicized for sales, carry contentious and questionable provenance. However, unlike the Greece’s situation, a legal process is not likely to surface between any of the African countries concerned and the auction houses, ahead of the sales. As at the time of going to the press for this report, Nigeria's National Commission for Museums and Monuments (NCMM) had its hands full in stopping, at least, two or three auction outlets involved in suspected stolen cultural objects of the country.

After the ruling against Sotheby’s, Greece’s Culture Minister Lina Mendoni told VOA the judgment was of "enormous legal importance," particularly for countries fighting against illegal antiquities trade. Having legally stopped Sotheby's from selling the piece, next for Greece is to file a repatriation suit. "The ministry will proceed with every legal process to repatriate the statuette, stressing that when stolen and illegally exported monuments are returned," the country of origin recovers part of its lost history, Mendoni said.

For Christie’s proposed-sales of its Arts of Africa, Oceania and North America, in Paris, some sculptures with Nigerian, Benin Republic and Gabonese origins also come with clandestine provenance. Listed among the lots in the online catalogue of Christie's website for the June 29 auction are Belt Mask Edo and Edo Hip Mask, Kingdom of Benin, selling for EUR 10,000-EUR 15,000 (USD 11,247-USD 16,870); Edo Bronze Plate, estimated for EUR 30,000-EUR 50,000 (USD 33,740 - USD 56,233); Pair of Igbo Statues Attributed To The Master Of Awka Couple, Nri-Awka Region, Nigeria, selling for EUR 250,000-EUR 350,000; Urhobo- Meeting-House Posts, estimated.for EUR 80,000 - EUR 120,000(USD 89,973 - USD 134,959); and Urhobo Figure, going for between EUR 600,000 - EUR 900,000(USD 674,797 - USD 1,012,195).

Yoruba Wooden Divination Bowl. ( 20th Century AD, 6.5″ (41.9cm) high x 8.5″ (21.6cm) wide x 9.5″ (24.1cm) depth). 

With no specific dates for any of the works, the provenance has created a deliberate distraction, perhaps meant to prevent any spotlight on the works as being from the prohibited Red List of UNESCO. Among the works described by UNESCO under its Red List are artefacts and other cultural objects not approved for export by country of origin.

Christie's described Belt Mask Edo and Edo Hip Mask as sourced from Robert L. Stolper, Stolper Galleries, New York, but "acquired" via the collection of James and Marilynn Alsdorf, Chicago, on April 24, 1961. How the foreign collectors got the works directly or not, from Nigeria, is not explained in the auction house's provenance.

Also, lacking appropriate provenance are the Igbo Statues, described by the same auction house as from Jacques Kerchache Collection, Paris, Ana and Antonio Casanovas & Bernard de Grunne, Madrid / Brussels, 2010. Similarly, the Urhobo Meeting House piece on the list is said to be of Count Simon du Chastel (1926-2014), Brussels, acquired in 1972  from Philippe Ratton and Daniel Hourdé, Paris.

In all the artefacts, no date to place any as either modern or ancient.  A strong pedestal on which Greece stopped Sotheby's was the fact that the period of the equestrian work falls under several UNESCO red List. From all indications, the collectors' legitimacy in acquitions of the African works being put up for sales by Christie's and Sotheby's have not been established. Basically, the date of an art piece, mostly of suspected artefact status, provides an easy ground to track its origin. None of the African art pieces for both the auction houses were dated.

Prof of Art History, Chika   Okeke-Agulu — who, two weeks ago, raised alarm over the illegitimacy of Christie's to sell the Igbo Statues — continued to challenge the auction house's proposed sales. Perhaps the age or date of the Igbo pieces, if available, could give a path into whatever the auction houses might be hiding. Okeke-Agulu of African and African Diaspora Art, Princeton University, Department of Art & Archaeology, few days ago, said "I cannot provide a definite answer," as regards the age of the sculptures. "But, they were taken from shrines and community houses in Eastern Nigeria in 1968-1970," Okeke-Agulu stated via email.  He explained that being of wood medium, irrespective of how old the works are, the condition would still be fairly good. He suggested that the sculptures "must have been made in the 20th century, with a few perhaps even late 19th century."

With or without evidence of illicit trade against Christie's, over the proposed sales of the Nigerian origin art pieces, NCMM, on Wednesday, said "we are tracking the situation." Babatunde Adebiyi, Legal Adviser at NCMM disclosed that the commission was already gathering information and will respond adequately. Less than 24 hours after, NCMM stated that a letter dated June 17 has been sent to Christie's, requesting the auction house to stop the proposed-sales.

The letter, addressed to Victor Teodorescu, Head of Sale, African and Oceanic Art Department, Christie’s Gallery was also copied Bruno Claessens, European Head of the African and Oceanic Art Department Christie’s Gallery. Signed by the Acting Director-General, NCMM, Aliyu Abdu, excerpts from a copy of the letter received by this writer reads: "We are surprised to discover the advertisement of the under-listed artefacts on your website for a planned auction scheduled to hold on the 29th of June, 2020, 3pm at 9 Avenue Matignon, Paris. France.

"These artefacts as you have stated are from Nigeria and they lack the proper providence. We thus request that you suspend the auction and provide us with the provenance of these artefacts because we are of the opinion that they belong to classes of antiquities that Nigeria will object to their exchange or transfer.

"Some of them are not just mere objects in some fancy collection. They have sacred purposes within the community." The letter listed Lots 29, 30, 31, 47 and 49 as the contentious artefacts.

For Sotheby's sales come provenance of a piece taken from 1931, and described as "African reliquary" sculpture, of which the auction house provided no details of origin. Scheduled for sale at Sotheby’s evening of contemporary art in New York' June 29, the statue has been labelled after one of its collectors, by the auction house, as 'The Clyman Fang Head.'

To boost commercial value of art, it's a common practice among auction houses to use popular collectors' names as promotional spin. In such situation, the identity and origin of the work is not completely removed in contrast to Sotheby's distorted provenance against the African sculpture mentioned.

Edo Hip Mask (Benin, Nigeria)

Clearly, the sculpture has all the suspicions of going under the hammer without its origin known. The provenance available include its movements from one collector to another after it first appeared in 1931. In fact, the name of the sculpture is derived from what appears as its second or third collector.

More interesting, the sculpture is not dated to any period, which makes it complex to place either as ancient or modern African art piece. From Sotheby's press statement, no date, or cultural location in Africa was mentioned, even if the piece were of ancient origin.

 “We are excited to present the exquisite Clyman Fang Head to a new audience of collectors for the first time in our Contemporary Art Evening auction," David Galperin, Head of Sotheby's Evening Auction of Contemporary Art in New York stated. "Beyond its renown as a legendary icon of classical African Art, what struck me about this singular sculpture when I first saw it in the Clyman home alongside their collection of Post-war art was how its form appeared so radical and purely modern."

With presale estimate of between US$2.5 million and US$4 million, the piece is being featured alongside masterpieces from artists such as Clyfford Still, Francis Bacon and Jean-Michel Basquiat. "The sculpture last appeared on the market in 1992 when the Clymans acquired it at auction in New York," Sotheby's disclosed.

While the date of the work, its cultural or religious link to specific place in Africa and artist are unknown, the provenance tracks index collection to Charles Ratton, the popular Parisian patron of African art. The provenance explains how, in the 1930s, the head was acquired from Ratton by a modern art curator and writer, James Johnson Sweeney. And with the assistance of Ratton, Sweeney "organized the legendary 1935 exhibition African Negro Art at the Museum of Modern Art in New York."

Other group of art from Africa for the auction include what Sotheby's described as from "Kota artists," Central Africa. However, nothing suggests that The 'Clyman Fang Head' belongs in the Kota artists.

In his comment sent via internet, Prof of Art, Dele Jegede of Miami University, Oxford, Ohio, U.S, described Sotheby's inadequate provence of the works for sale as unprofessional re-branding. "I am apoplectic reading Sotheby’s flagrant and shameless re-branding of this exquisite Gabon mask as Clyman’s Collection." Jegede traced such diatortion to an unrepentant tradition of derogating African origin, in cultural context. "This whole episode strongly reifies the old, time-worm method of first de-legitimizing Africanity, then forcibly stealing it only to finally appropriate and monetize it." 
  He also highlighted a deliberate creation of anonymity being given the work on the commercial platform.

"Equally on display in this ceaseless assault on Africa and its common wealth is the shameless ploy of ascribing indigenous African art to the realm of anonymity: no name of artist, no name of work, place, or purpose for which the piece was made. Oh, excuse me; it is now to be known as Clyman Collection, right? Oh well... we’re back to where we started." He asked: "who determines the value placed on this piece of unacknowledged and looted art?"

As NCMM prepares for a possible legal battle should Christie's go ahead with the June 29 sales, there is something to learn from the Greece's experience. The 8th-century BC Geometric Period horse that Greece successfully stopped Sotheby's from selling, for an estimate of $150,000 to $250,000, was well investigated by the country of origin. Greece claimed that it had been purchased in 1973 from Robin Symes, an art dealer who already got previous records of being accused of dealing in looted antiquities.

In a post-lockdown opening of the European and Eastern art markets, NCMM seems to have its hands full tracking suspected illicit trade in art of Nigerian origin. NCMM also cited how its intervention has stopped a London, UK-based Barakat Gallery with branch in Seoul, South Korea, from selling a list of artefacts from Benin and Ife origins, recently. The letter dated June 1, 2020, and addressed to the gallery, requested for a halt of their sales, stating that "Nigeria will object to their exchange or transfer."

A check on the website of Barakat Gallery showed that the Ife and Benin ancient pieces earlier advertised for auctioning have been relocated from the auction section to another part. Perhaps, this suggested that the sales have been put on hold.

Among the pieces on Barakat's list are Yoruba Wooden Decimation bowl (Circa),  20th Century AD, Wood; and Benin Bronze sculpture of a Portuguese Man, (Circa), 17th Century AD, bronze.

UK’s Art Fund to award $2.5 million in COVID-19 Relief for Cultural Institution

Photo credit: Alamy

The London-based charitable organization Art Fund has pledged $2.5 million in grants for museums and galleries in the United Kingdom impacted by the coronavirus pandemic, in an effort to cushion the financial losses and expected drop in visitors and revenue as cultural organizations prepare to reopen. Nearly $2 million have been allocated for the immediate needs of institutions. The funds will go toward collections and exhibitions, the development of digital skills and infrastructure, audience engagement initiatives and reopening costs, and staff support, which were identified as the four key areas of focus from the charity’s Covid-19 impact research, published in May.

Based on two surveys—one for museum professionals, and another for museum directors—which collected data from more than four hundred responses, the Art Fund report found that “the most pressing concern for almost all organizations is safe reopening and attracting audiences back, and the financial impact of opening with social distancing measures.” It also found that 85 percent of directors are concerned about the capacity to bring visitors back. And though more than half of all staff were worried about the futures of their workplaces, the rates were much higher in independent organizations—which are less likely to have received funds from existing emergency pandemic grants—as opposed to university or state-run spaces.

In response, Art Fund will award $2 million in grants, ranging between $12,500 and $63,000, to organizations, which may begin applying for funding on Tuesday, June 16. The first round of grants will close July 6. An additional $350,000 will support smaller local authority museums and independent organizations that have not yet received emergency funding—56 percent of accredited UK museums are community-based and largely volunteer-run, and another $188,000 will be available for the “Museums and Galleries Network for Exhibition Touring” (MAGNET), an initiative that will produce collaborative, nationally touring exhibitions drawn from the collections of twelve organizations, including the National Museums Liverpool, the Bristol Museums, and the Glasgow Museums. The first show is slated to open in October 2021, with a focus on international hair cultures.

“The future of our museums and galleries, which are so vital to society, is far from certain,” said Art Fund director Jenny Waldman. “We encourage all those at immediate risk or re-imagining future ways of working to get in touch. However, these steps alone will not secure the future—more help is required. We are now fundraising so we can continue to support museums and galleries and we’re calling for everyone to come together to help support museums and galleries adapt and thrive during the biggest challenge in our lifetime.”

Istanbul Museum of Painting and Sculpture opening delayed

Antrepo 5, the future home of the Istanbul Painting and Sculpture Museum.

The Istanbul Museum of Painting and Sculpture (IRHM), which has been closed since 2008 and was scheduled to reopen this spring before the reopening date was pushed back to September, seems unlikely to welcome visitors in 2020. Though its $25 million Emre Arolat–designed building, which will also house the collection of Mimar Sinan Fine Arts University, served as the Istanbul Biennial venue last fall, it continues to face difficulties in funding, staffing, and construction.

Curator Vasıf Kortun, who was named the museum’s founding advisor last May, quit in December. One of the problems raised by Kortun was that a core selection of the museum’s holdings are on indefinite loan to President Recep Tayyip Erdogan and the Palace Collections Museum in Istanbul, including paintings by Abdulmejid II, the last caliph of the Ottoman Empire. “The museum cannot open without these,” Kortun said. Previously the director of research and programs at SALT Istanbul from 2011 to 2017, Kortun served as a consultant on the museum’s renovation project before he was hired to lead the institution, which has a 12,000-piece collection with works dating back to the late Ottoman era. 

Though he had promised an approach “powered by critical contemporary ideas,” Kortun ultimately stepped down: “You cannot have the state run an institution like this,” he told the Art Newspaper. “Technically, bureaucratically, financially, ideologically—it’s just the wrong combination. . . . I realized it was absolutely impossible to work through this because I was not given the authority to change things.”

Curator Duygu Demir, who worked with Kortun and took over after his departure before she, too, left her post in February, said: “I couldn’t raise money, curate a show about 120 years of Turkish painting and sculpture, think of the next show, and run an institution on my own.”