Lothar Böttcher | A Man Of His Time

Through Lothar Böttcher’s work one is taken on one of the most exciting artistic adventures of all time in the search for the ultimate nature of physical reality, a hunt that in the past century has yielded such breakthroughs as Einstein’s theory of relativity and quantum mechanics, two theories that radically altered our perception of the universe and our place in it. The latest progression in this heroic pursuit is string theory, known as superstring or M-theory. This same thirst, exploration and fascination with time and space has been going on within artistic circles since 1915 and Kasimir Malevich, Suprematism and the Abstract Expressionist and Art Informel in the 1950-60’s. Today the artists looking are these puzzling issues are artists such as the late Sol LeWitt, Abderrazak Sahli and Julie Mehretu, Sarah Sze, Marie Thibeault and deconstructive architects such as David Adjaye and Zaha Hadid. Working on parallel lines Lothar’s glass artworks boldly navigates between the lines of science and art; looking through the artist’s transparent work one is drawn to the illusion of the alternate space created; once again in search of this elusive notion of the light between.






The artist works primarily with glass, which lends itself to a reaction of immense intrigue and glee when scrutinized. There is a special mystical quality to his work as the audience is left with renewed vision, questioning not only the art but the world around them. Just as Galileo caused delight 400 years ago so the viewer is again in for an artistic extravaganza, to look not at the glass but at the space that lies beyond. In his earlier works with prisms the fundamental theories of science are incorporated throughout. The viewer perceives the contiguous space from a distorted angle which is ever changing due to his or her movement.



The most recent sculptural glassworks Lothar has created are lenses that act as a portal, which challenges the observer’s perception of space and time. Appropriately, Lothar’s lenses are based around the Galileo telescope, which was coincidently invented in 1609; in a time when the world believed that the earth was at the centre of the universe, known as the geocentric view devised by Claudius Ptolemys in the 2nd Century AD, rather than the sun, which is known as the heliocentric. It was Galileo who controversially supported the Nicolaus Copernicus notion of heliocentrism with his most famous work, ‘Dialogue Concerning The Two Chief World Systems’. Today Galileo is regarded as the father of modern science.

The artist toys with his audience playing on the insecurities of all individuals and the paranoia of being watched and centre stage. Lothar’s work would certainly be at home in the CCTV City of London. When the viewer lurches closer and piers through the multifaceted lens they become the viewed, and the viewed becomes the subject matter and that becomes the art. The viewer becomes the viewed and spectators see the distorted person, their facial features in constant motion, incessantly changing behind the lens. The audience delights in the experience and the charm of seeing something that was not there a moment ago and the artist has successfully changed the canvas for a fraction of a second. A constant conversation is taking place with the glass as the transmitting device.

Every movement changes the way the spectator perceives the sculpture – whether it is the viewer or the viewed again. The artist has intentionally attributed the work to Galileo’s kinematics and the world in perpetual motion and in a constant state of change. The work echoes the world itself and cosmos beyond working towards a world where everything is seen differently by different people and in doing so celebrating the importance of individuality and personal perspective and perception. The artist works with these weighty philosophical notes and as he does so the concept of the world looks different and work begins to question the way we see the world around us. The work is inclusive and participatory, which links skilfully with the thinkers of our time; connecting with scientists, writers and philosophers like Michael Albert and fellow anarchists Noam Chomsky who are sharing similar thoughts of Participatory Economics or Parecon, life after Capitalism and also ideas spoken about from Chris Ofili and his interview about the Last Supper in the 'Upper Room', created alongside David Adjaye. We could easily refer to this kind of art as Participatory art. Through Lothar’s work we see an artist pushing the envelop ever closer to the notion of artistic enlightenment.

© Joe Pollitt, 2009

TRIBUTE TO NAOMI SIMS

TRIBUTE TO NAOMI SIMS | THE FIRST BLACK SUPERMODEL



Naomi Sims | First Black Supermodel | Dead at 61

Source: Fashionlogie.com | http://www.fashionologie.com/3733488

Mon. 08/03/09

>> The title of "first black supermodel" has been handed out to Beverly Johnson, the first African American woman to score the cover of Vogue, or Donyale Luna, who Vogue named model of the year in 1966, but Naomi Sims, who died of cancer Saturday, at 61, held her own right to the title.

Halston referred to her as "the first [black supermodel]" in 1974: "She was the great ambassador for all black people. She broke down all the social barriers.” When modeling agencies turned her down in the late '60s, she went straight to photographers, finally convincing Gosta Peterson to capture her for the cover of The New York Times Magazine's Fashions of the Times supplement in 1967; the image is now appearing in the Metropolitan Museum of Art's "Model as Muse" exhibit. Sims sent out the image to ad agencies, and within a year, she was earning $1,000 and had a national AT&T TV commercial campaign wearing Bill Blass.

She paved the way for the likes of Pat Cleveland, Beverly Johnson, gave up modeling after five years in favor of pursuing what became a multimillion dollar beauty empire, and thought of her race as an advantage: "It’s ‘in’ to use me, and maybe some people do it when they don’t really like me. But even if they are prejudiced, they have to be tactful if they want a good picture.”

Still I Rise

You may write me down in history
With your bitter, twisted lies,
You may trod me in the very dirt
But still, like dust, I'll rise.

Does my sassiness upset you?
Why are you beset with gloom?
'Cause I walk like I've got oil wells
Pumping in my living room.

Just like moons and like suns,
With the certainty of tides,
Just like hopes springing high,
Still I'll rise.

Did you want to see me broken?
Bowed head and lowered eyes?
Shoulders falling down like teardrops.
Weakened by my soulful cries.

Does my haughtiness offend you?
Don't you take it awful hard
'Cause I laugh like I've got gold mines
Diggin' in my own back yard.

You may shoot me with your words,
You may cut me with your eyes,
You may kill me with your hatefulness,
But still, like air, I'll rise.

Does my sexiness upset you?
Does it come as a surprise
That I dance like I've got diamonds
At the meeting of my thighs?

Out of the huts of history's shame
I rise
Up from a past that's rooted in pain
I rise
I'm a black ocean, leaping and wide,
Welling and swelling I bear in the tide.
Leaving behind nights of terror and fear
I rise
Into a daybreak that's wondrously clear
I rise
Bringing the gifts that my ancestors
gave,
I am the dream and the hope of the slave.
I rise
I rise
I rise.

Author: Maya Angelou

Abderrazak Sahli 1940-2009

My first meeting with Abderrazak Sahli was in 2007, and I was initially fascinated with his ideas and playful work with shapes and colour. Throughout his artistic life Sahli was inspired by abstraction and he deconstructed his artwork in a similar vein to an American Pop artist. Stripped to the bare essentials the work of any artist boils down to three specific fundamental elements; shape, colour and light. His work is the link between some of the most important art movements of the last century, American Pop Art and Abstract Expressionism and Russian Suprematism. Sahli is originally from Arabic North Africa but spent his life living between France and Tunisia.

Sahli’s artistic life started in the 1960’s and the consistency, continuity and thoroughness of his works are astounding. Inspired by his mentor and friend Nejib Belkhodja, Sahli adopted many ideas from the recognised Tunis School of Art of 60's, founded by Belkhodja, which looked at architecture, constructivism and the development of aesthetics through art. The image below is from his later works, “The Artist Door”, and effectively capitalises on the bright North African sunlight. 'Skyhooks' are needed when looking at his work as the light pours in from different directions and through the multi-layers he has created new and exciting shapes from standard shapes, mixed with layers of other standard shapes to create brand new shapes. Sahli has manage to tackle the age old question of the elusive light between - his work is wonderfully simple yet sophisticated and certainly philosophical. The standardization of all things – the accepted shape and the rejected unacceptable shapes colliding to create new unacceptably acceptable shapes, the work is a paradox and a guide to a wave of thoughts that are rarely uttered; the artist’s pursuit and perpetual quest to push the boundaries of art puts Abderrazak Sahli in the company of Modern Masters of Turner, Paul Klee, Mondrain, Kasimir Malevich and Nejib Belkhodja.



Sadly Abderrazak died earlier this year but was and still is considered one of the best artists from North Africa and his work is interwoven with numerous glorious ideas. His final works are amongst his best and they come alive wholly when filled with light, like the soul of mankind, light is the essential ingredient needed for life itself; like all things, without light the work becomes a two-dimensional object, lifeless and flat. Given space between the layers creates conversations that have enough time to be forgiveable. Space and time seen through the use of light makes everything believable and alive. Abderrazak created an innovation within art through his unique use of light, the source of which all artists strives to achieve. Observations and opinions change as the shape and colours change, what was unacceptable will inevitably become acceptable and even to the point of becoming the recognisable standard. All that is needed to create this phenomenon is light, space and time. Abderrazak strived for the unacceptable and waited for the world to wake up to the ideas of the unacceptable transformation into the general acceptance. This quintessentially is how the world works. The best art pushes the boundaries asking the viewer to consider what is seen and sheds light on the truth that abnormality will eventually become an acceptable normality given enough time and space. This colourful transparent “Artist Door” plays with the traditional screens in the Arabic world. The suggestion of sex is one of the major features within the work; as the screens are normally used for women to undress behind to entice men to see them at a glance, glimpses of naked flesh and the lustful joy of anticipation. His work can be read in copious ways and he leaves behind a body of work that is not only beautiful and intriguing but more importantly it is thorough and thought provoking.

© Joe Pollitt, 2009

Contemporary Nigerian Art | 1950 - Present

Artist: Bruce Onobrakpeya
Title: Okoroko
Material: Lino Engraving
Size: 12 x 17 cm
Date: 1975













Art, Artists and Art Criticism
Situational Report in Nigeria from 1950 – 2004

Introduction

This article is focused on some issues concerning contemporary art and its practitioners and art critics as it relates to Nigeria from 1950 to date. In any way the article may not be able to discuss in minute detail due to space constraint. At the same time the theoretical framework of the paper will be historical and also analytical in order to be able to state the author’s views on some issues raised here.

The history of contemporary art in Nigeria cannot be complete without referring to the instrumental figures who through their solo efforts brought Nigerian modern art into the world art history. The history started with Aina Onabolu 1881-1963 as a leading figure who did not only start the art of drawing and painting but also fought single handedly to put art in the school curriculum in 1927. Onabolu consciously went into art of figure drawing and painting to prove and disabuse the minds of the then Europeans who thought no African can dabble into the art of figure drawing and painting. With the help of some European art teachers such as Kenneth Murray who came in 1927, H.E Duckwork and Dennis Duerden who later joined, they later discovered of other talented indigenous artists who did not only continue from Onabolu, they equally made their distinct landmark in the propagation of visual art. Such notable artists include Akinola Lasekan 1921-1972, Justus Akeredolu1915-, Ben Enwonwu 1921 – 1994, Etsu Ngbodaga and others.

These notable Nigerian academically trained, or partially trained or self trained artists started what was later christened Natural Synthesis by the “Zarianist”. For example, Enwonwu’s paintings and sculptures reflect naturalistic and stylized forms which he called “African Style”. As it is argued, Enwonwu’s spirit of synthesis later became the compass upon which the Zarianists members of Zaria Art Society based their popular theory of “Natural Synthesis”. Ademuleya,2003.

The events starting from 1950 have been very topical and have also dictated the trends in contemporary Art in Nigeria. Also events since then have been properly classified by some scholars who wrote on contemporary Nigerian art. These scholars include Dele Jegede 1983, Adepegba 1995, Akatakpo, 1995 Kunle Filani 1998.

Late 1950s and early 1960s witnessed in Nigeria art history the beginning of radical revolution in visual art. The periods consciously witnessed the change of art style from ancient traditions and also jettisoning of western – style realistic approach to execution of artwork. The new consciousness ushered in what was referred to by Filani as “New African” concept which simply means an admixture of traditions and modernism, the philosophy which was later developed as “Natural Synthesis”. This philosophy in the first formal Art School in Nigeria. That is, the college of Art, Science and Technology, Zaria which was later renamed Ahmadu Bello University ABU Zaria. The key actors of this great African philosophy in visual art, who started as students and later spread into various art schools after their graduation are Yusuf Grillo, Uche Okeke, Bruce Onobrakpeya, Demas Nwoko, Emmanuel Odita, Jimoh Akolo, Solomon Wangboje and a host of others. They formed what was known as Zaria Art Society. .

The artists mentioned above influencee other followers and students who have some common and unique characteristics which reflect in their individual works. For decades they dictated the trends in Nigerian contemporary art. Their ideologies according to Filani were carried to other formal schools or workshops to create vibrant artistic revolution Filani 1998:35. Some of these pioneer artists are still in contention in the country.

Another generation of Artists who were later discovered after the 1950s and 1960s progenitors are 1970s graduates of mostly the Zaria Art School. Among them are Shina Yusuf – painter now dead, Joshua Akande – painter, Nelson Cole – painter now dead, Dele Jegede – painter, cartoonist and critic, David Dale – painter and mosacist, Kolade Oshinowo – painter and Gani Odutokun- painter now dead. Their works have been described as characterized by elongation of forms, with elegant northern architecture, and human figures while some depict northern grassland in their landscapes. Most of these artists’ works are in the collection of National Gallery of Modern Art. It is worth mentioning that artist like Late Professor Adepegba 1941 – 2002 who graduated in 1971 with 1st class degree in sculpture consciously went into art history and criticism. He made his mark as one of the distinguished, outstanding and foremost Africanist Art Historians/Critic the Continent has ever produced.
Most contemporary Nigerian artists are classified along the school in which they graduated from. There are also cases of few artists having other distinct styles or deviating from the usual school styles. Of large number of contemporary artists in the practice today are the 1980s graduates of various formal art schools in Nigeria. The term “school” is also used to describe the philosophy, styles, themes and forms that are peculiarly distinguishing of these schools. The schools that have distinguished themselves with some unique characteristics include Zaria School, Yaba School, Nsukka School, Ife School and Auchi School

The distinguishing characteristics of each school will be briefly mentioned as well as some of their outstanding products or artists. The name of the school represents the location of each art school or may some time bear the name of the founder.

Some Agents of Contemporary Art in Nigeria

Zaria Art School

The works of the school are characterized by elongation of forms, with elegant northern architecture and human figures. Their landscapes, most times reflect the grassland and savannah vegetation of the North. Other later graduates of the Zaria School who have made their marks from 1950s till date as artists, teachers and historians include Prof. Yomi Adetoro, Dr. Tunde Akinwumi, Jerry Buhari, Jacob Jari, Tonie Okpe, Rukeme Noserime, Nse-Abasi Inyang, Tunde Balogun, Tunde Oniyide, Tony Emordi, Victoria Ukpera, Chinwe Abara, Abraham Uyobusere, Akeem Balogun, Wunmi Busuyi, Betty Bassey, Duke Asidere, Emmanuel Irokanumo, Ade Odun, Taiwo Oyejide and Abiola Idowu among others. Their contributions have been in the sustenance of the art tempo which the pioneers started through their constant practice. While some of the listed artists are household names among the art historians, critic, collectors and the art audience, some talents are just emerging.

Yaba School

The Yaba School employs realistic art form that are done in narrative, and descriptive style mostly done in accurate photo-graphic-realism. The initial notable artists who graduated in the 50s and 60s and went for higher studies in Europe include Agbo Folarin, Isiaka Osunde, and Abayomi Barber. The later artists of the School, who were taught by the former graduates of the Zaria School, belong to the 1980s generation. These include Mike Omoighe, Biodun Olaku, Phemi Adeniran, Lara Ige, Felix Osieme, Edosa Oguigo , Joe Amenechi, Ato Arinze, Sam Ebohan among others.

Nsukka School

The calligraphic nature of ‘Uli’ art body painting/decoration influenced the products’, works. The philosophy of application of Uli art form as espoused by Uche Okeke and later supported by Chuka Amefuna, Chike Aniakor and El-Anasui was to intensify the search for Igbo–identity, thereby using the Uli linear forms to depict radical socio-political and cultural subject matters. Their linearity of drawing and modeling according to Filani, became the hall mark of Nsukka’s contribution to modern Nigerian art. The graduates are conceptually rich and fecund in imagination thereby making their themes to penetrate into the social situations of the people. Filani, 1998:36. Notable of late 1970s and 1980s artists of the school include Tayo Adenaike, Olu Oguibe, Ndidi Dike, Chijioke Onuora, Ernest Okoli etc. Of 1990s graduates are Chika Okeke, Krydz Ikwuemesi, Ozioma Onuzulike among others.

Ife School

The school is noted with intellectualization of its works with vigorous emphasis on theoretical content in art form. Noted with cultural inspiration drawn from the Ife location, the school explores a rather diversity of creative exploration in the use of local materials, symbols and images which later developed into the exploration of Yoruba traditional symbols, motifs, structure and concepts termed Ona by some of the 1980s graduates. The lecturers of the Ife School who are not graduates of the school include Babatunde Lawal, J.R.O Ojo, Abiodun Rowland, Ige Ibigbami, Agbo Folarin and PSO Aremu among others.

The late 1970s and 1980s graduate artists of the school who have made their marks in art practice, writing and teaching include Moyo Ogundipe, Nkiru Uwechi-Nzegwu, Moyo Okediji, Don Akatakpo, Sherinat Fafunwa-Ndibe, Kunle Filani, Idowu Otun, CSA Akran, Osi-Audu, Tola Wewe, Eben Sheba among others. The emerging 1990s graduates of the school include Segun Ajiboye, Stephen Folaranmi, Mufu Onifade, Ademola Ogunajo, among others. These artists exhibit often and some also participate in the yearly exhibition of the school graduates tagged “The Best of Ife” which started in 1993.

Auchi School and Its Artists

Auchi Art School is noted with expressionistic naturalism. The use of vibrant and sweet colours are attributed to the graduates of the school. Some of the outstanding artists of the school who have made their impact on the audience and collectors include Ben Osaghae, Sam Ovraiti, Olu Ajayi, Pita Ohiweri, Edwin Debebs, Alex Nwokolo, Toni Oshiame and Olu Amoda metal sculptor among others.

The Informal Schools and Their Artists

These are art locations where artists are informally trained without following rigid rules of formal art syllabus. The training is acquired through apprenticeship system or workshop experience. Within the informal school, some of them do not obey the rules of accurate proportion, and perspective. Mbari Mbayo–Osogbo and Ori-Olokun-Ife schools explored the workshop system. Notable artists that emerged from the Osogbo School include Twin Seven Seven, Jimoh Buraimoh, Muraina Oyelami, Tijani Mayakiri, Rufus Ogundele, Ademola Onibonokuta, Asiru Olatunde, Nike Davies. Their contributions to art history in Nigeria is their deviation from the known western–style realistic form. These artists’ forms are original, spontaneous and naively created with utter disregard for the depth, space or any expected relationship of motif. Their themes are most times derived from folktales, myths and religious stories. The characteristics of which was classified as “Naive Vision encouraged and fossilized” Adepegba, 1995. They hardly follow the cannon of verisimilitude which is common with Western Art. Ori Olokun workshop is seen as an extension of the Osogbo but the style of execution tilts greatly towards naturalism. Prominent artists of Ori-Olokun experiment include Wale Olajide, Rufus Orisayomi, Fela Odaranile, Adeniji Adeyemi, and Ademola Williams. Other important informal school is “Abayomi Barber School” which started in 1973 by Abayomi Barber . Although the founder was formally trained, the trainees of the school are informally trained. There is no curriculum to operate as in formal art school and no specific entry requirements. Emphasis was always placed on importance of drawing as the basis of it all, also the need to see correctly, measure accurately and observe very keenly, the rules that are borrowed from formal school system. Its prominent artists include Muri Adejimi, Olu Spencer, Busari Agbolade, Toyin Alade, Kent Ideh, Bunmi Lasaki, and Bayo Akinwole among others. Their works are widely collected in Nigeria and abroad and have also been documented by researchers in art history Azeez 2002. Many of them have been in active practice from 1980s till date.


Aka Group






Aka Group based in Enugu and Nsukka in the Eastern part of Nigeria, formed in 1989 as a circle of exhibiting artists. It has close affinity to Nsukka School. As reported by Filani, the Aka group and Uli artists are philosophically inclined in thematic choice with clairvoyance in social vision Filani,1998:41. The founding members of Aka include Obiora Udechukwu, Tayo Adenaike, El-Anatsui, Nsikak Essien, Samson Uchendu and Chris Echeta among others.

Eye Society

The Eye society is based in Zaria Ahmadu Bello University. It was formed in 1992. The membership comprises mainly some artist staff of the Department of Fine Arts of the University who also graduated from the Department. Some of the founding members include Gani Odutokun died in 1994, Jerry Buhari, Jacob Jari, Matt Ehizele and Tonie Okpe. The group’s contributions have been in the areas of propagation of visual arts as an instrument of development of the society, publishing of journal called “The Eye”, mounting of exhibitions, organizing workshops conferences and symposia etc.

Uli Movement

It is Nsukka-based. The membership is for an artist who believes in the philosophy of Uli Art as a stylistic expression using its linear and spiral motifs in terms of forms and using themes that have socio-cultural content and advantage. The members of the movement who are both Igbo and non-Igbo include Obiora Udechukwu, Tayo Adenaike, Chris Afuba, Chris Echeta, El-Anasui the famous and prolific Ghana born artist, working in Nsukka University. Chijoke Onuwa, Chika Okeke, Olu Oguibe, Victor Ecoma, Ndidi Dike, Krydz Ikwuemesi, Ozioma Onuzulike and others.

Ona Movement

This was formed in 1990 by the five graduates of “Ife Art School”. The five pioneering founding members include Kunle Filani, Moyo Okediji, Tola Wewe, Bolaji Campbell and Tunde Nasiru. The movement explores the decorative motifs, ornaments, patterns and design peculiar to the rich artistic culture of the Yoruba Filani 1998. One advantage of Ona approach to artistic expression according to Filani is the rich visual grammar it affords the artist to employ, resulting to melody of tones, forms and structure and also enriching the aesthetic sensibilities of the viewers Filani 1997. Some of the other exponents of Ona philosophy as an art include Don Akatakpo, C.S.A Akran, Ojo Bankole, Akin Onipede, Ademola Azeez, Sehinde Ademuleya, Rasheed Amodu, Mufu Onifade ,Kunle Adeyemi and others. One of the major contributions of Ona movement to contemporary art is its enriching the visual aesthetic and appreciation of Art.

Pan-African Circle of Artists PACA

It is an artists’ organisation formed in 1995. Its focus is to provide fora or avenues for African artists within and outside the Continent. It also works “at engineering an indigenous voice for the propagation of African Art”. Ikwuemesi, 2000. Its founding members include Krydz Ikwuemesi, Ayo Adewumi, Nnaemeka Egwuibe, Jerry Buhari etc. One other contribution to art history in Nigeria and African continent is its regular publications that border on African and global issues. Its headquarters is located in Enugu, Nigeria.

Culture and Creative Art Forum CCAF

This organisation was formed in July, 2001. Its objectives among others include intervening and promoting the creative and artistic education of Africans through cultural means in order to encourage their economic and creative independence. It is also to maintain and sustain the rich cultural heritage of Africa and her people. Its headquarters is located in Lagos, Nigeria. Its founding members include Dr. Kunle Filani, Ademola Azeez, Dr Ademuleya Sehinde, Akin Onipede, Mike Omoighe, and Austin Emifoniye. It has organised two National Conferences with the themes “Culture and Creativity” in 2002 and Contemporary Challenges in Nigerian Arts” in 2003 . CCAF has published two major books.






Artist: Victor Ekpuk
Title: Market Day
Material: Ink on Paper [edition of 5]
Size: 152 x 114 cm
Date: 2005




Artistic Trends in Nigeria

The artistic trends in the country are still being dictated most times by the mode of training and styles adopted by each school discussed earlier. The artistic trends are as varied as number of art schools formal and informal movements we have. For instance, some artists of formal school orientation still engage in naturalistic art form with the synthesis of tradition and modernity to express their concepts. One other current artistic trend that is prevalent among the workshop trained artists especially of Osogbo and Ife Ori-Olokun is the depiction of their forms in the traditional culture, folklore and myths in a figurative and narrative way. Another artistic trend is the expressionistic expression that is prevalent among the Auchi School graduates.

Exponents of Ulism those who adopt Uli art forms of expression mostly graduates of Nsukka School and Onaists those who adopt Ona art form and concept as found in Yoruba decorative pattern, design and ornament to express their messages also constitute a strong trend in contemporary Nigerian art. The “surrealist-naturalists” of the Abayomi Barber School is equally an artistic trend. The common thing to most of these artists is their thematic expression depicting socio-religious beliefs, socio-economic conditions and social lives of the people.


The Front-liners of the Artistic Scene

The frontliners of the artistic scenes today in Nigeria include established artists pf 1950s those referred to as “Zarianists”, such as Bruce Onobrakpeya, Yussuf Grillo, established artists of the 1970s, 1980s of formal school and some of the 1990s. The graduates of Informal School system discussed earlier are still in active practice and these are Osogbo and Ori-Olokun artists, and products of Abayomi Barber School the surrealists. Most of these artists’ works are still being collected and exhibited. They are classified as front liners because they exhibit from time to time and not only that, some of them exhibit yearly in solo exhibitions.

Representing 1950s graduates is Bruce Onobrakpeya who exhibits regularly with new works produced in the exhibiting year on display. Of the 1970s graduates is Kolade Oshinowo who apart from exhibiting regularly, also showcases new works. He is arguably the most prolific artist of his generation. Notable among the 1980s graduates who are front liners are Kunle Filani, Tola Wewe Ife School, Mike Omoighe, Olu Amoda, Abiodun Olaku Yaba School, Ndidi Dike female painter Nsukka School, Ben Osaghae, Olu Ajayi, Sam Ovraiti, Alex Nwokolo Auchi School, Duke Asidere Zaria School, Muri Adejimi and Olu Spencer, Informal school. Most of them have been listed in “Who is who” in Nigerian Art. The remarkable thing about these artists’ works is that each artist style of painting or sculpting or modeling is very unique and experimental and their artistic developmental stages can easily be traced by critics.

Art Writing and Criticism

Very few writers are engaged in critical writing on art. Among the few are visual artists and artist academic intellectuals. Their writings can be categorized into articles in art journals, newspaper art reviews , and reviews in exhibition brochures Critics of the 1970s include Ayo Ajayi, Ben Enwonwu, Cyprian Ewensi, Okpu Eze, Uche Okeke and Demas Nwoko and Obiora Udechukwu late70s. Art journalists/writers/critics of the 1980s include Ben Tomoloju, Tam Fiofori, Elsy Obasi, Taiwo Ogundipe and Toyin Akinosho, Jahman Anikulapo, Shola Balogun, Lanre Idowu, Wale Aina and Gbile Oshadipe and Dili Ezughan among others. Oloidi, 1996. The academic intellectuals who went into art writing and criticism from the early 1980s-1990s include Adepegba, C.O., Dele Jegede, Ola Oloidi, Olu Oguibe, Sylvester Ogbechie, Kunle Filani, Mike Omoighe, Chika Okeke and Krydz Ikwuemesi.

The art writers/critics who stand at the front line of the artistic scene today include Kunle Filani , Toyin Akinosho, and Jahman Anikulapo,and Krydz Ikwuemesi Their writings are remarkable due to the issues their critical writings generate. These issues range from art policy, art administration, status of the artists in Nigeria and Africa, art practice and theory to collection and appreciation of art among other topical issues. There are also up coming and promising art critics not mentioned here. The front liners listed here have contributed a lot of reviews in exhibition brochures, newspaper articles and reviews, academic art journals and even comments on socio-cultural issues in the country. Some have even curated national exhibitions. The limitation of their writings especially on artists’ works is their inaccessibility to the stages and processes involved in artists’ works before the final exhibition.

National Collection of Contemporary Art

There are collections of contemporary works by both government’s culture institutions and private collectors. The institution charged with the national collection of contemporary art is the National Gallery of Art NGA. It has the largest collection of artists’ works among the other culture institutions created. Its collection was first documented in 1981 in a publication titled “The Nucleus”. There are also private galleries and collectors who have in their keeps works of prominent contemporary artists. Among the private galleries in Lagos are Signature gallery, Treasure House, Nimbus gallery, Mydrim gallery, Galleria Romania, Nike Okundaye gallery, Quintessence and others. Private collectors are few Nigerians and foreigners mostly Europeans and Americans who have in their collections works of most artists mentioned in this article. Of special note among the Nigerian collectors, is Engineer Yemisi Shyllon, an avid art collector who arguably has the largest private collections of contemporary artists’ works both Nigerian and non-Nigerian artists.


Artist: Niyi Olagungu
Title: Untitled (Installation view)
Material: Wood palettes & leather balls
Size: 900 x 750 cm
Date: 2009



Conclusion

It is the view of this writer that art and culture matters such as status of the artist, consistent implementation of art policy, administration of art and artists, production and practice of art, criticism and writing on art have not been given the adequate attention they deserve by the Government. There are many problems confronting contemporary art and artists in Nigeria some of which the artists themselves have attempted to solve but due to financial constraint and lack of political powers, those problems are still there. As individual artists and writers, they have tried to draw attention to some of the topical issues either through their art works or writings. There are a lot of benefits Nigerian Government can derive from artists and other culture activists if they are genuinely involved in the administration and implementation of art and culture matters that directly affect artists and citizens at large. Nigeria as the most populous Black African nation in the world can utilize the capabilities and potentials of her artists and culture activists if the artists are also allowed to put their ideas and skills into fruition as stated in the Cultural Policy for Nigeria. Nigerian artists are looking forward to a day when an established and a seasoned visual artist/administrator would be appointed to head for example, “The National Gallery of Art”. One believes that if this is done critical discourses of issues on art and culture could be widened and more articulated. On a final note, this article does not pretend to discuss and raise all issues on contemporary art and artists due to space constraint. The issues and artists cannot be exhausted in just one article.


References
Adepegba, C.O. 1995: Nigerian Art: Its Traditions and Modern Tendencies, Jodad Publishers, Ibadan. p.96
Azeez, W.A. 2002: “The Works and Artists of Abayomi Barber School in the Development of Contemporary Nigerian Art” PhD Proposal submitted to the Institute of African Studies, University of Ibadan
Filani, E. O. 1998: “Form and Content as a Basis for the Classification of Contemporary Nigerian Art” in USO: Journal of Art, National Gallery of Art, Lagos, pp. 33 – 44.
Filani, E.O. 2001: “Trends in Contemporary Yoruba Art: A Delineation by History and Styles” in A Discursive Bazaar : Writing on African art, culture and literature Ikwuemesi, K. C. and Adewumi, A.Eds.. PACA, Enugu Pp.127-140
Filani, E.O. 2003: “Zaria Art Society and the Imperative of Historical Articulation” in Triumph of a Vision: an Anthology on Uche Okeke and Modern Art in Nigeria, Ikwuemesi, K. C. Ed.Pp.133-143
Ikwuemesi, K.C. 2000: “Preface” in Crossroads: Africa in the Twilight, Aniakor,C.C and Ikwuemesi K.C. Eds., National Gallery of Art, Nigeria. p. v
Oloidi, Ola 1996: “Art Criticism in Nigeria, 1920-1996: the Development of Professionalism in the Media and the Academy”, in Art Criticism in Africa, Deepwell Katy Ed. P.p. 41-47
Osa Egonwa 2001: “The Evolution of the Concept of Natural Synthesis” in Uso-Nigeria Journal of Art Vol. 3 1 & 2 pp 52-60 as cited by Ademuleya, B.A. 2003: in “Synthesis: Between Onabolu, Enwonwu and the Zarianists” in Triumph of a Vision: an Anthology on Uche Okeke and Modern Art in Nigeria, Ikwuemesi, K. C. Ed. Pp. 145-153

Contemporary Visual Art from Ghana

Here is an article written by one of the most imaginative, talented artists; originally from Ghana, George Afedzi Hughes.

Contemporary Visual Art from Ghana
by George Afedzi Hughes
Image by George Afedzi Hughes

An Overview

Museums and galleries all over the world regard traditional African art of high aesthetic value. A reputation ignited by the overwhelming influence African art had on modernist European artists at the beginning of the twentieth century. This impact and positive status of traditional African art has over decades resulted in laudable exhibitions, acquisition and documentation of such antiques. Nevertheless, not much favourable interest and documentation is offered most contemporary art of Africa. It is being criticized for being universal and failing to meet the stereotypical African art tradition. This is also the case for contemporary art in Ghana.


Contemporary Art in Ghana

The idea of grouping Ghanaian artists is an anomaly because of its complexity. The artistic climate of Ghana is made up of a variety of styles. This stylistic pluralism may be due to several factors and influences such as ethnicity, religion, education, westernization, globalization and aesthetic preferences of the individual artist under consideration. The complex social structure of the Ghanaian society is due in part to the fact that there are about 79 languages spoken in a country whose population is about 19 million in the year 2000. The Ghanaian cultural melting pot is compounded by the fact that several religions are being practiced. It is within this social fabric that most Ghanaian artists coexist and evolve their aesthetic ideas.

Stylistic groupings create problems such as marginalization, especially when such divisions reference the hierarchy of what is, and what is not art - a barrier that pushes some artists to the periphery and favors a few others.

The intent, purpose and dynamics of ongoing African art has changed to become much more eclectic because of the continent`s experience with proselytism, slavery, and colonialism. Art of any historic era is a direct reflection of the circumstantial ambience past and present within that very setting. Culture is dynamic and susceptible to influence and change. Current art created in Africa is a fabric of the cosmopolitan melting pot, a protean of its past, a reality of its present and a determinant of its future. To this effect, therefore contemporary Ghanaian visual art is a direct offspring of the poly-traumatic African chronicle.

From a general perspective, one may be tempted to categorize Ghanaian visual artists into groups due to which generation they belong to, or the stylistic similarities and differences, within their work. I am much more interested in looking at the Ghanaian art scene from a panoramic viewpoint of the various artistic modes of expression. I am also compelled to concentrate only on those fine artists who have gone beyond formative years, attained a personal stylistic consistency, allowed progressive experimentation, and have been working. This is by no means a complete representation of all the Professional visual artists working in Ghana today.


General Characteristics

Contemporary Ghanaian visual artists are usually unaffiliated to any artistic movements. They are open to a tremendous exploration of indigenous and universal ideas, formal or informal, and are poised to exhibit their works to both local and international audience. In addition some of these independent fine artists create work that shows evidence of experimentation, of research, and an openness that seeks to break the barriers of cultural stagnation through the combination of emotional and intellectual acuity. Ghanaian artists receive art training from varied sources. Some are self-taught and the majority of them receive formal training in Ghana and abroad. They either receive tertiary education at the College of Art, Kwame Nkrumah University of Science and Technology, Kumasi, training from private institutions such as Ghanatta or Ankle School of Art, both located in Accra apprenticeship from private sign writing workshops, or are self-taught. There are evidently aesthetic differences in the works of artists who receive training at academic institutions and those who go through apprenticeship at sign writing workshops. These differences are not necessarily qualitative but rather stylistic alternatives made by the artists as a result of the opportunities and circumstances they encounter, a conclusion that may displease two schools of thought - firstly, those who believe that College education absolutely yields art of the highest caliber, and secondly those who deride formal training as adulteration and derivative of Western ideas, hence inauthentic. I am compelled to state that artists whose works are often described derogatory as naïve, folk, derivative, grotesque, universal, or academic, and therefore inauthentic may actually be making tremendous inroads and breaking the barriers of the status quo beyond reason, and tradition. After all what do artists need, but an irresistible amount of tenacity beyond hurdles. Influence, either conscious or subliminal is a powerful experience that grips thirsty minds. The concept of borrowing aesthetic ideas from other cultures has been instrumental in the development of art in various societies. Roman artists borrowed ideas from Greek art. European cubists` fascination with and adaptation of the treatment of form in traditional African sculpture is credible and commendable. It is with the same curiosity and empathy that some contemporary Ghanaian visual artists embrace African and Western art forms.


Symbolism and Tradition

A distinguishable group of Ghanaian independent artists are those who are conceptually inspired by African symbols and traditional forms such as adinkra motifs, traditional stools, sculptures, and also ideas about African identity. Oku Ampofo and Vincent Kofi are earlier Ghanaian sculptors who borrowed extensively from traditional African concepts of stylization, emphasis, distortion and symbolism. Public commissions of relief panel murals and busts and monuments of Saka Acquaye, resonate the traditional African practice of the artist`s duty to State. Owusu Ankomah uses in his prints and paintings colossal male figures superimposed on ideograms and symbols. Through an acute reductive system of visual selection Ankomah attains profundity with suspended shapes that defy gravity and attain a metaphysical significance. Martin Dartey, greatly influenced by traditional African art, uses his knowledge in African history as leverage to deliver sociopolitical themes in his paintings.


Figuration

Artists under this group create work by perceiving and interpreting forms, structures and activities within their immediate environment. The human figure, groups and crowd scenes become the central themes with the figurative artists. Generally the figures, draped in traditional costumes, are in action and either idealized, stylized and/or abstracted. These artists do work that celebrates the everyday realities of Ghanaians such as scenes at the congested open markets, crowded beaches, dancers, musicians, horse riders, lorry stations, bustling beaches and all the paraphernalia that comes with crowd scenes. The pioneer of figuration in Ghana who worked before and around the 1950s and 60s was the late Kofi Antobam. Antobam`s work features natural proportions of humans in complex compositions with content set on royalty, and scenes from the everyday lives of Ghanaians. Since independence forty-five years ago, great transformations in the Art of Ghana have taken place. Several artists have developed alongside one another, with mutual, overlapping influence and juxtaposed parallelisms. Veteran artists within the figurative group are sculptors like Oku Ampofo, Saka Acquaye, Vincent Kofi. and painters like Ablade Glover, Ato Delaquis and Amon Kotei. Color orchestration appears in the work of Amon Kotei through the use of the female model going through her daily chores. Whereas Ablade Glover`s impasto surfaces metaphorically exhume the elegance within the female form, Ato Delaquis creates detailed, color-modulated panoramic scenes of Ashanti warriors and vehicular scenes. Abstracted and condensed color fields act as a delicate veil in Wiz Kudowor`s pointillist figuration of idealized forms. Robert Aryeetey uses subtle colors and creative lines to evoke figures poetically. Evidently there is the rarity of politically fuelled work being done in Ghana. However Kofi Setordji defies the clichés within the everyday festive subject matter and engages the viewer with his succinct socio-politically charged themes. In addition Godfried Donkor`s bold and graphic references to Slavery, the Diaspora, and the plight of minorities encroaches on an avoided content. Donkor is based in London and works in digital and painting media.


Transcendence

The transcendental artists create work that eludes direct representation because these works are symbolically encased within intangible percepts and constructs. In other words what you see on the surface is color and form yet underneath is immense meaning that can only be hinted at either by the title or in dialogue with the artist. The transcendental artists distance their selves from direct communication of meaning and rely deeply on the subliminal, masking and camouflage. In essence the quality of their work is gold foiled in dust. An exponent of this group of Ghanaian artists is Atta Kwami who through his paintings and installations makes intellectual references to familiar Ghanaian local structures such as kiosks, stalls, and suburbs. Kwami creates the transformation of the familiar and often ignored subject matter into an elevated aesthetic, through concise color and shapes. Nanart J.D. Agyeman interprets Ghanaian proverbs in detailed and colorful linear shapes at once mystical and visually organic.


Vocational Designers

In the last two decades some creative Vocational designers such as carpenters, seamstresses, tailors, and hairdressers have attracted the attention of Western historians. A notable achiever within this group of designers is Samuel Kane Kwei and his custom- made coffins that replicate in sculpture recognizable forms such as cars and boats. Caroline Monda Dartey, wife of the Painter Martin Dartey designs African beads and bags from an intellectual perspective. Hopefully her example will inspire female artists in Ghana to pursue professional careers in art.

This recognition of Ghanaian artisans and designers as fine artists has widened the parameters of what is art, and poses the question - who determines the fine art of a people, and upon what qualitative criteria is the measure of fine art based upon? The most crucial question to pose however at this juncture is whether the functional intent of the designers disqualifies them as fine artists? It is however reasonable to state that if most fine artists, who create art for its intrinsic value are seeking recognition in the mainstream, so too some may argue designers would not disallow the respect of galleries, and museums, should the opportunity arise. If the idea of art as a universal language still holds, then it is not harmful to allow all art to be tested and to undergo study and scrutiny, within relative knowledge, empathy and expertise of connoisseurs without recourse to suspicion. The above may seem almost impossible because of the magnitude of art produced by humans all over the world. The closest one can get to this ideal of an open exposure will still require a clear distinction of quality in terms of differences between excellence and mediocrity, between formative and mature and between kitsch and the classic.

Works of art emerge from diverse sources with varied intent and therefore it is wiser to keep an open mind, slow to judgement. If art can thrive on convergent and divergent ideas, of influence and tradition, of the rejection of conventions, and by borrowing from unprecedented sources across board, then the idea of a pure art devoid of influence does not exist and cannot be used as a measure to qualify the authentic in art. Thanks to primitivism, postmodernism, modernism, tradition and academism. Above all thanks to the freedom of expression. This is not a blind wholesale concert that allows every piper to horn along. Rather it is an epiphany of reality that within various times and settings there happens to be multiple alternatives and applications of various qualities of Art. Within these diverse settings is the bitter hierarchy of what is acceptable and unacceptable, a phenomena instituted by those in authority, by society, by institutions, by trends, factions, artists and finally by posterity. In the end Art is the victor.




--


Postscript:
George Afedzi Hughes is a painter and a poet. He was born in Ghana and works and lives in the U.S. Hughes has taught at Bowling Green State University and the University of Toledo. He has worked an assistant professor at the Art Faculty of the University of Oklahoma and presently is the assistant professor at NYC University in Buffalo, NY. An active exhibitor, Hughes regularly shows his work in England, Germany, the Netherlands, the U.S. and Ghana. His paintings are mostly executed in mixed media: acrylics, oils, spray paint, polyurethane enamels, fabric paint, oil pastels and found objects.

Peterson Kimwathi and David Kaiza

East Africa, especially Kenya and Kenyans have waited a long time to find a combination as tangible as Peterson Kimwathi and David Kaiza. Finally they have found their writer/artist duo, similar to Oscar Wilde and J.M. Whistler, Eric Newton and Henry Moore, Martin Scorsese and Robert De Niro.

Kenya is a nation more familiar with literature than art but the work produced by Peterson speaks volumes. With holes in newspapers encouraging ideas of the media and institutional deceit or seen as forms of masks or white hoods worn by the infamous Klu Klux Klan; all these ideas builds the blatant picture of betrayal. It would be fair to say these artworks are on similar lines to sketches drawn by Francisco Goya in the early 19th Century, 'Disparate quieto', later to develop into the Black Painting of 1819-1823 or ‘The Inevitable’ by Ibrahim El Salahi as within these eight pieces of work, which were created over a 16 month period, rests the weight of a entire Nation. Similar to these Masterpieces Peterson has effectively created monochrome pictures as if printed in a newspaper and in his own personal way attempts to express the truth in black and white, devoid of colour to emphasis the magnitude of the issues he is trying to tackle. The bravery is for all to see, the artist has named and shamed his fellow Kenyans and in doing so shows the rest of the world the function and importance of art.

Here is a slideshow as a record and testimony for history.

CARBON-DATING AN ATROCITY

Kamwathi’s Charcoal Statement On State Failure


By David Kaiza/Africancolours.net


When he was doing research for his subject, Peterson Kamwathi wanted to see what the now notorious Form 16A looked like and he went to the Electoral Commission of Kenya. There, he asked them to show him the forms on which polling results are collated – on the face of it, an innocent enough request.

“When I went for the Form they told me to write to the Chairman of the Commission,” Kamwathi says. “I thought, how do I do this?” It did not take him too long to read the bureaucratic-speak, where “write to…” is jargon interprets as ‘sorry we can’t help you’. “Apparently, it might be a confidential document.”

Peterson Kamwathi started experimenting on the Sitting Allowance collection early 2008. At the time he chose the walls of the GoDown Arts centre exhibition hall as his canvas. Kamwathi was more irritated than surprised. The ECK was after all, the epicenter of the post election violence that convulsed the nation when the figures it had jotted down on those forms were disputed. To an organisation managing an image problem on the scale of the ECK’s, even a request from a fine artist was tantamount to a criminal inquiry. For all it was worth, his failed attempt to get a copy of the form merely added to the weight of the series of the art he was then creating. Bureaucratic imperviousness and the resultant disaster thereof, is after all, the central theme of his current show.

Showing now at the Nairobi Goethe Institut, Kamwathi’s report on the violence, titled Sitting Allowance, is startling: Monochromatic and large, the eight pieces startle by their originality as much as by their rhetorical pull. Done entirely in charcoal, Kamwathi’s show calls attention to itself. By choosing to present it in absolute black, Kamwathi may have felt that what he had to say was so important that if he did not make this loud statement, that his voice might have been ignored. In keeping with the by-now recognizable structuring of the narrative about the violence, hyper-reaction is not an indictment that can be laid solely at Kamwathi’s feet. Since June 2008, Nairobi artists and writers have sharpened their knives and applied it brutally on the surface of their material. Betty Muragori’s poetry, dramatized by StoryMoja, reacted to ethnic hatred with the violent title Cut off my Tongue. The moving photo exhibition, Kenya Burning, breaks a few photographical ethics by showing pictures that frequently but understandably, appeal to morbid curiosity. Kwani? is publishing a two-part magazine focusing exclusively on the violence. In the field of visual art, Kamwathi’s show is doubtless the most impressive so far. It is also, the most subtle, which is probably what makes it worthwhile.

His collection of eight pieces strikes you the moment you enter the gallery by the sheer blackness of their surfaces and by the rather uplifting repetitiveness of the same elements, the legs, the eyes and the grimly menacing faces that surround you as if you the viewer, were on show. He has focused on institutions that were involved in the elections – religion, the police, the media, politics, the ECK, election observers, elected politicians and the mediators that came later to quell the flames once the explosion happened.

It is at first intriguing when you have just walked in. It looks like a collection of group portraits. Then it also looks like a parade, for these staid postures are what you usually encounter on national days when the press is out, the police standing ominously on the sidelines, the professionals and students come out marching. But there is something extra here, for these figures have been brought up for more than simple inspection. After you have walked around, you cannot avoid noticing the deeply satirical treatment they receive. But it is difficult satire, for Kamwathi has never spoken to a simple audience, his large works, his direct messages are delivered without drama, so close to the humdrum surface of the everyday that you might miss the point. He does not do the sensational and the trite.

The portrait of religious leaders out in their garb of office, the police with their shields (written on “police” just so you may notice), the be-suited African leaders, the election observers, presidential candidates and electoral commission officials, simply stand there; everything about them seems ordinary enough, their suits correct and their poses officious. But you start to notice details. You see the manner in which the hands hang down by their sides, the height at which their jackets are set and the looks on their faces. You go back to seeing these pieces a second time and begin to notice moral depravity hinted at in their aspects. Is that naive innocence you see on the religious leaders, what of the relaxed postures of the police – is that intended as irony? What is most damaging satire is the manner in which the presidential candidates, desperately trying to look good in one of the pictures are instantly transformed into the classical long-reigning African leader; their dead faces, their impossible lifelessness, their inaccessibility and pasteboard faces. Seeing and capturing the Eyassingbes and Omar Bongos of African statesmanship is quite a coup for Kamwathi. Why are the mediators who came to save the situation, dressed up as doctors and what are the masks they wear for? More directly satirical is the treatment of ECK officials who hold up tallying forms – Kamwathi’s idea of what the mysterious Form 16A might look like. He brings them out as cowards – dangerous cowards hiding behind officialdom.

The minimalist exposition by the Goethe Institut works to focus like a magnifying glass on the singularity of the medium. The artist’s usage of charcoal carries too this magnification for the charcoal is given liberty to become itself; its absolute blackness, its light and attention absorbing intensity letting us experience at one level, the charisma of this elemental colour.

The simplicity is triumphant restraint. Often, abstraction and colour can hide imperfections or serve, by sheer talkativeness, to make us think there is something very significant going on in there which we might see if we scratched our heads hard enough. Hence, setting out to do something in such singularly is a technical risk; unless you are capable of mastering immense discipline, making a simple statement can be – paradoxically - very difficult. The sheer number of legs, heads, arms and eyes Kamwathi summons up on this parade make the simplicity work well; so much of the same thing, surrounding you and by sheer, nearly, numbing repetitiveness, wangles out its own austere aesthetic.

“Charcoal is easy and difficult,” Kamwathi explains. “Colour is forgiving. There is no responsibility with colour. Charcoal has very little Resistance; it’s almost like a dance, almost like clay. But there is no solvent once you make a mistake.”

It is also wasteful, as Kamwathi explains. The charcoal that holds onto paper is only one-third of what you apply to paper. He wanted to realise these images in life-size but could not find paper large enough. “It depends on what the issues you are addressing are. One way you can engage with the audience is through content, another is scale. I wanted to make it so huge that people notice it. There is a lot in there, there is historical manipulation, exploitation and colonialism going back beyond 2008, 2007, 2002 or 1992.”

The charcoal makes the issues graver. “If I had used colour, 90% of what I had intended would have been lost,” he says.

He mixes image with text, although the actual press release he reproduces, which prematurely declared the December 2007 elections a success, are a task to read.
The pictures are not on sale. As he explains, all eight pieces are a complete narrative and whoever is buying them, would have to take all of them, with the caveat that they make it available to the artist on request. Word going around is that a British collection is bidding for them, but Kamwathi won’t say who it is.
From Nairobi, they will be traveling to Germany. He spent 16 months doing this and 16 months with a dark chapter of one’s country is draining “There were points when it was very bad,” he explains. “I was in despair most of the time. The worst was the atrocities – so much had gone on and realising that those atrocities were backed by institutions so far removed from reality.”


Source: African Colours | www.africancolours.net

Cultural Renaissance | Algeria

Algiers festival to mark African "cultural renaissance"
2009-04-19

The upcoming Pan-African Festival is being fêted as a major event marking Africa’s return to the international cultural stage. For the first time in forty years, African nations will join together to celebrate the continent's artistic revival.
By Mouna Sadek for Magharebia in Algiers – 19/04/09




[Getty Images] Algerian Minister of Culture Khalida Toumi announces PanAf 2009.


African artists will showcase the diversity and creative heritage of their continent at the second Pan-African Festival, which will be held in Algiers from July 5th-20th under the theme "African Renaissance". For two weeks, the stirring rhythms of Africa will pulsate across Algeria.

"Forty years after the famous PanAf of 1969, Algeria will once again celebrate Africa’s cultural renaissance. Algeria is back! And so is Africa!" Algerian Culture Minister Khalida Toumi proclaimed at an Algiers press conference held last month to detail plans for the historic celebration.

Forty-four of the fifty-three member states of the African Union have already confirmed their participation in the festival. Absentees include Morocco, which is not a member of the AU. Other countries invited to attend PanAf 2009 include those with African Diaspora communities, such as Cuba, Venezuela, Brazil, and the United States.

"We expect to receive around 8,000 artists, intellectuals, delegates, journalists, and official guests," Toumi said.

Minister for African and Maghreb Affairs Abdelkader Messahel said he hoped PanAf 2009 would be a "starting-point for the revival of African cultural activity", one that would be based on "dynamic cooperation with partners from developed countries".

Panaf 2009 will showcase the richness, beauty, and emotion that characterise the continent and focus on African creativity and genius in drama, music, dance, film, literature, cartoons, visual arts, and traditional crafts.

The programme includes exhibitions of contemporary African art, design, photography, fashion design, architecture, and the Sahara. A dozen or so symposia and conferences will touch on subjects ranging from colonialism in Africa, the origins of the human race and zaouia tidjania to theatre and financing film productions in Africa.

African literature will be in the spotlight, with an international youth literature forum and a writer-in-residence programme in Algiers for African authors and publishers. New editions of more than 200 major African works will also be issued to coincide with the event.

An African film festival will screen recent productions, including a Liamine Merbah documentary portraying Algeria as a haven for African liberation movements. Major African directors, including Algerians Mohamed Lakhdar Hamina and Rachid Bouchareb, will contribute five-minute films to a unique montage addressing African development.
Drama will also be a part of the festival. Some 27 theatre performances are planned, 14 of them Algerian. Staging the festival, however, will be an expensive operation. While Algeria is spending 55 million euros on the event, officials say this sum falls short of what is required.

"We need another 5.5 million euros," Khalida Toumi said. "We’ll do everything we can to get hold of it. We’re in touch with sponsors and will publish the list of all partners once the contracts have been finalised. Africa is a continent of the future. Many large companies are interested in taking a high profile here." Most of the money will be spent on building an artists' residence in Zeralda (west of Algiers) with a capacity of 2,500 beds. The Village des Artistes, designed on the model of the Olympic villages, will feature 24 buildings.

The ultimate goal of all the extraordinary preparations, festival communications officer Zouaoui Benhamadi said in an interview with Egyptian radio station Sawt El-Arab, is for PanAf 2009 to cement "a cultural, economic, political, and social union of all African countries".

"It should become an institution," he added.

This content was commissioned for Magharebia.com.