Friday 31 August 2012

New dawn of transparency for Nigerian museum authority?




The D-G, NCMM, Mallam Usman (right) the Curator, National Museum, Onikan, Lagos Mrs, Edith Ekunike (cenre) and Chief Accountant, Mrs Gloria Olakunmi during the briefing.
For the first time in over five years, the National Commission for Museums and Monuments (NCMM) offered Nigerians first-hand information on the country's international exhibition of priceless artefacts. 

NCMM is exhibiting about eight pieces of artefacts at an international show titled Bronze involving countries from Europe and Asia, which opens at Royal Academy of Arts, London, U.K from September 16, ending December 9, 2012. 
One of the artefacts, a mask known as Oni Obalufon, (Ife 12 th - 15 th Century)

International collaborative shows, in the past seven years or more, involving NCMM and foreign museums were shrouded in lack of transparency as the works were usually taken out unannounced. However, there seemed to be a new dawn few days ago as the the Director-General of NCMM, Mallam Yusuf Abdallah Usman briefed the media and showed the works being taken out for the London show. (Details soon).   

Jubilee Festival… retrospection of a patriarch


By Tajudeen Sowole
Dr Bruce Onobrakpeya’s art exhibition titled Ore Idjubili (Jubilee Festival), currently showing at Nike Art Gallery, Lekki, Lagos, may not be the first of its kind. It brings to the fore periods in the career of a Nigerian artist, but the depth of retrospection shows an artist whose skill is not confined to a generation

ORGANISED as part of several activities marking Onobrakpeya’s 80th birthday, the exhibition, which is the artist’s first solo since 1992, sums up 50 years in the career of the artist. It would also broaden the academia and critics’ study of the master printmaker’s art.

More instructively, the show stresses the importance, and perhaps revered place of periods in every artist’s career. In contemporary context, periods offer guides for art historians, connoisseurs and critics to probe the philosophy driving an artist’s creativity, dissect the behavioural patterns and arrive at a descriptive terms for the artist.

Onobrakpeya’s periods in focus include Mythical Realism, 1957-1962; Sunshine, 1962-1967; The Mask and Cross, 1967-1978; Symbols of Royalty, 1978-1984; Sahelian Masquerades, 1984-1988; The Mask, 1990-1995; Social Unrest, 1995-1999; Installation (1995 till date).

However, Ore Indjubili refreshes memories on the concept behind some of his works as well as exposes seeming competitive edge, which the artist’s application of materials and technique has over philosophy. For example, his aggressive use of either found objects or native, but traditional religion-like materials shows how the philosophy powering the entire composite struggles for attention.

Indeed, materials and technique – taken for granted in art parlance – should drive the themes or philosophy, but for Onobrakpeya’s subsisting Installation Period, which started 17 years ago, norms should not be lionized. In fact, his installations such as Golden Jubilee Dance, first presented at the last Dak’Art and Hunters In The Rainbow Forest, though deodorized in shrine-like fragrant, would readily compete with material-craze concepts raging in the art of young artists of today.
Installation, Hunters in the Rainbow Forest by Dr Bruce Onobrakpeya.
Although mounted at one of the two extreme ends, Hunters In The Rainbow Forest still looms into view as one entered the gallery. What exactly has hunters got to do with a rainbow forest? And what is a rainbow forest? Shortly after being welcomed with a traditional bandstand provided by the gallery, the artist responded.
The concept, he disclosed, “is inspired by eghwere (hunters’ muse in Urhobo.)” He, however, cautions that hunting, analogically, goes beyond games or animal hunting context, “but could be applied in expanding your horizon in the search for excellence.”
Indeed, this much is depicted in the two central figures that wear headlamps, and in search of targets or games.
  
Whatever informed his choice of materials would not require much probe, at least for those who are familiar with the artist’s well-known homeboy-attitude to artistic renditions. He stated, “The materials are inspired by objects I have known through my youth and adult years.” And this led to the idea of a rainbow forest. Perhaps the colours suggest a toga for the forest, he explained, saying “while working, one of my assistants, Da Silva thought it looked like a rainbow; so it is.”

And that the other installation Golden Jubilee Dance also attracted quite a lot of visitors clearly showed that at 80, the artist is not left out in the installation race. In fact, shortly before it left for Dak’Art, the work led to a revisit of the much-debated faint line between some traditional art and African native religions. Onobrakpeya insisted that works in such categories are mere pieces of art, which could be “sanctified,” to remove any perceived fright.  

Represented now at Jubilee Festival, the first of the series, he disclosed, was shown during Nigeria’s 50th Anniversary celebration exhibition in Abuja in 2010. And the real concept, he argued, was about the challenges Nigeria is facing currently, which “I believe that there is so much to celebrate; hence the dance.”

Also stressing that Onobrakpeya is an artist of all seasons are the Mythical Realism and Social Unrest Period. Works representing the Social Unrest period were a combination of past and present, dwelling more on the philosophy rather than technique or style. From the stylised mass women Nudes and Protest, Protesting Youths, Suffering Masses, to Smoke From the Broken Pipe and a recently produced Travails of a Continent, figural and semi abstract impressionism still give quite a breathing space for the philosophy behind the work to germinate.

Two years ago, the Chief Rasheed Gbadamosi-initiative, Yusuf Grillo Pavilion showed a body of works titled Onobrakpeya: The Legacy in honour of the master artist at the second edition of the yearly fiesta in Ikorodu, a Lagos suburb. That was the closest to a solo exhibition after his last Bruce Onobrakpeya – A Retrospective said to have been organised by the Society of Nigerian Artists (SNA) in 1992, to mark his 60th birthday. However, at his Harmattan Workshop complex in Agbarha-Otor, Delta State, the largest concentration of his works were seen on permanent display during a visit last year. Aside the curatorial inputs of Nike Okundaye, Sam Ovraiti and Bode Olaniran as well as the white walls/floor of the Nike Art Gallery, the Jubilee Festival show appears like a lift from the Agbarha-Otor Gallery displays.

Were some of the works moved to Lagos for this show? “Not at all; nearly all the 70 pieces here are produced for the exhibition,” one of the artist’s sons Mudiare Onobrakpeya, said. “They have never been seen in public before.”

In the brochure of the exhibition, an excerpt from a 1972 piece written by Jean Kennedy, describes Onobrakpeya as an artist whose “outward reserve is misleading. It conceals a resolute intent and an impressive record as a creative artist.”

Among visitors to the show were Dr. Pat Oyelola, U.S.-based Prof Perkins Foss, Mr. Sammy Olagbaju, Dr. Peju Layiwola, Raqib Bashorun and Jess Castellote.

Dr Bruce Onobrakpeya and Prof Pat Oyelola during the opening of the exhibition in Lagos.

While commending Nike Okundaye for giving the space, Oyelola noted that “Onobrakpeya is laying a strong foundation for the future generations of Nigerian artists. “

Among supporters of the exhibition are Visual Arts Society of Nigeria (VASON) and Omooba Yemisi Adedoyin Shyllon Art Foundation (OYASAF).

Onobrakpeya had his first solo show in 1959 at Ugheli, in the present day Delta State.

In 1998 he started the yearly Harmattan Workshop at Agbarha-Otor, which runs till date attracting visitors within and outside Nigeria.

He is a recipient of Pope John Paul II award for painting the life of Saint Paul; Fellow of SNA in 2006; Fellow of Asele Institute award; Fulbright Exchange Scholar award; honourary D. Litt. from the University of Ibadan (UI) in 1989.

From Ogwo’s Impasto, a call for soul-searching


By Tajudeen Sowole
When painter, Emenike Ogwo opens his fifth solo art exhibition titled Impasto at Terra Kulture, Victoria Island, from September 8 to 13, 2012, he would be making a statement that the responsibility of every individual transcends personal glory

In his 16 years of practice, Ogwo has shown that commitment or passion of every artist in setting identity is the real scale on which valuation is placed. Stressing the scale is his consistency in the highly textured form known as Impasto.
  It is therefore not surprising that his choice of theme for his current solo exhibition is a tribute to Impasto
  Impasto (a word borrowed from Italian) is an art term that describes thick or layered and textured paint on a surface, creating a relief or dimensional illusion.  
  Having established an identity of visual rendition, expressing impressionism with impasto for a coalescence of art interpretations over the years, Ogwo’s next exhibition takes a leap into the realm of an artist’s privileged responsiveness to the challenges of his environment. 

  As he took his guest through some of the works inside his studio in Ajah, Lagos, it occurred to the visitor that the content – his thoughts on each work and the inspiration behind them – is like a huge contrast to the central theme, Impasto. What has Impasto got to do with it? “It’s about the qualities within the reach of every soul, which is the foundation of one’s spiritual life,” he disclosed.
  In about 40 works or more, the artist touches on the crucial social economic challenges in Nigeria.
  The slipping grip of leadership on the nation’s decadence in nearly all strata of endavour is summarised by Ogwo in the work Good Shepherd. This work brings to fore the argument about guidance. Despite the composite, which places the cattleman in the centre of his flocks, and not necessarily in front, the animals are orderly – filing after the leader. The analogy in Good Shepherd increases concern about the usual misunderstanding between the leaders and the people, hence the bane of underdevelopment, whereas, common cattle takes orderliness for granted.  
  Still on Nigeria’s under-development, Ogwo’s palette knife takes you through the aerial view of sea of cars at the Marina, Lagos car park in the work titled Tokunbo Dumping Ground. Usually this car park offers an exciting view for motorists and other users of the road who journey through the Marina-Apongbon link bridge. The artist’s choice of title for the work may be contentious, given the fact that these cars, supposedly belonging to those working in these corporate offices and banks lined up along the Marina, a sector of the Nigerian economy that hardly patronises Tokunbo (used imported) cars. However, it could also be argued that if new cars, according to sources, form less than 10 percent of imported cars into Nigeria, the bulk of the cars we see at the Marina car park are, perhaps, ‘higher grade’ Tokunbo cars.
  The responsibility of being privileged to use art in promoting change, indeed, makes this work an indictment on the leadership of a country such as Nigeria, which has surrendered to Tokunbo cars, when in actual fact 160 million people are enough assets to attract investors into the local automobile industry.
  Ogwo’s visual commentary, like most artists’, must go on even though the targeted political and policymaker elites would always pretend not to see art as a veritable medium for development. 
  Perhaps the decadence in society, from the artist’s perspective, could be linked to improper upbringing of children. He argued: “Basically, every child has the right to life and be allowed to survive and develop; should receive compulsory basic education and equal opportunity for higher education depending on individual ability; entitled to good health, proper medical attention for survival, personal growth and development.” 
  However, the complexity of leadership and the need to survive – courtesy of the people being led – keep searching for refuge or a cover. This much is epitomised in the commercial motorcycle (okada) mentality as a means of transport in most big cities across Nigeria. Ogwo stresses the okada irritant when he exclaims with a title Lagos No Go Spoil Okada! Okada!! Okada!!!
  Ogwo has employed his art to stand up against lack of value and orderliness, which are responsibilities of every Nigerian. The okada menace is a typical sign in the loss of value. Most worrisome is the unfolding situation where all the unwanted commercial motorcyclists from other states come to Lagos.


  Some other works such as
The Return, The Race of Life, Survival of the Fittest, also glorify the colourful cultural aspects of Nigeria like the Argungu Festival, in Kebbi State.
  Releasing his prowess in impasto, works like Portrait of A Girl, Innocence, Child Right. Another 1004? Any Hope for the New and Oshodi, makes one’s view caught between what can be described as the more you look, the more you sees, within the impressionism style of Ogwo.
  Having gained distinct flair in art at Federal School of Art & Science, Aba, Abia State in 1989, a seed of prowess was sowed. And from his post academic career after graduating at Auchi Polytechnic, in 1994 till date, Ogwo’s signature has, sub-consciously, stuck to the privileged of being noticed in the crowd.

George’s escape from ad studio


BY TAJUDEEN SOWOLE

NOTHING gladdens the heart of an artist more than being allowed to roam the creative field. This creative freedom dominated the thoughts of ex-ad man, Wande George, as he glossed over the new page of his career, recently.

George had put in about 20 years in advertising until he quit last year and was actually preparing for what would be his first major avenue for a wider expression in decades — a joint show with fellow ad man, Kola Arifajogun—when he chatted with this writer.
Like every artist who had worked as a visualiser or creative personnel in advertising agencies, George felt so relieved that, at last, he was doing his own job, in his own way.
  Though full time studio artists have always considered ad jobs as less challenging, and in fact, an escape route for a less creative mind, George, however, holds a contrary opinion.
Wande George'sMona Lisa
   He says the volume of work an artist does in the ad studios is not lesser than that of an independent artist. “It’s even more,” he argues.
   According to him, in advertising, it could be very frustrating “working on a brief over and over because somebody felt he has a better idea, but at the end of the day, your own concept is still reverted to.”
   George, however, says, despite his confinement, he never wandered away from mainstream art. “My passion for painting was intact, and I have participated in some exhibitions, but not as fulfilling as coming out fully.”
   He says, “I have been painting and experimenting consistently, which has resulted in the uniqueness of style and the depth of thinking.”
   
WHATEVER the perceived disadvantage there exists for an artist in the ad studio, there seems to be some gains, particularly in weaving concepts into images. This much appears well articulated in George’s work.
   Indeed, one of the areas, which his art could earn him a greater respect, is the philosophy on which he builds his themes.
   In the visual arts scene where an artist’s depth of intellectual knowledge counts, George’s concept has stronger leverage. He explains that The Exit represents transiting from one state of life to another, which could be physical or emotional, “loss of jobs, relationships, possession, or loved ones to the cold hands of death.”
  And in case of death,  “such exit usually has a lasting impact on those left behind, sometime physically, psychologically, emotionally and otherwise.”
   Also, in his style, there appears to be something strong enough from which to take a leap. For example, if stylised images such as Giant Strides and The Exit are sustained, the artist, who looks more like a movie star, already has an identity or trait that will tell him apart.

GEORGE graduated from Auchi Polytechnic in 1987 with an HND in Painting and General Art. He did his national service at the Nigerian Military School, Zaria, where he was an Art Instructor (1987-88). He worked briefly as a studio artist before joining Daily Times of Nigeria in 1989.
  He moved to the advertising industry as illustrator and creative art director. He exited the industry last year to focus on his first love —painting. In addition to being a member of Society Of Nigerian Artists (SNA), he is an APCON-certified practitioner.


Tuesday 28 August 2012

Artists, patrons celebrate with Onobrakpeya @ 80



Dr Bruce Onobrakpeya, centre, about to cut his 80 th birthday cake this afternoon at Nike Art Gallery, Lekki, Lagos. He was joined by well wishers including artists, art scholars and patrons, home and the Diaspora.

Monday 27 August 2012

Bashorun-Okediji: ‘Plagiarism’ not the right word



When great minds work – sub-consciously at similar spiritual realms of artistic creation – no matter the distance between them, the results could be embarrassingly identical.

This is what I adduced from a brief conversation involving artist, Raqib Bashorun and a colleague, Ozolua Uhakheme at the opening of Dr Bruce Onobrakpeya’s show on Saturday. In fact the controversy over  ‘identical’ weaving technique and alleged plagiarism involving Bashorun and U.S.-based artist, Prof Moyo Okediji came up during the chat.
Bashorun-Okediji
First and foremost, it appeared that the reaction of Bashorun at Watersworth Gallery, Lekki was exaggerated by whoever relayed it to Okedji. Bashorun clarified that he never “created a scene” as being circulated. He explained how he was shocked when he saw a technique similar to his. “Any artist would react in the same way,” he insisted. 

And when my colleague and I suggested that ideas, styles or techniques of two artists who never had contacts in anyway could be innocently similar, Bashorun agreed. And with maturity he said “I don’t think there is any issue of plagiarism in this case.”

I hope this should or would end the unnecessary heat seemingly created by, perhaps, a wrong relay of information.
     

Onobrakpeya @ 80… Words on Marble

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Aside books written on him by Nigerian and international scholars, Dr Bruce Onobrakpeya has also done a lot to document his work and career trajectory. Below are some of the statements he has made at different forums and in publications as compiled by TAJUDEEN SOWOLE.
There are those who believe that the west is trying to sell the idea of installation, which  in any case was adapted Africans’ shrine compositions... I personally find installations beautiful, exciting and intellectually interesting.
I had done two installation: Portraits of Two Icons, dedicated to Profs Wole Soyinka and Yusuf Grillo for their 70th birthdays in 2004.
A theme helps the participants look deep at an aspect of the arts with the hope of drawing out ideas which will stimulate creativity.
— Harmattan Workshop, Agbarha-Otor, 2005

The role played by various people in helping the artist bring to life the idea he has in mind is often underestimated. Any masterpiece is the product of not just the artist who created it, but the result of team efforts by his associates who laboured assiduously behind the scenes.
— from Jewels of Nomadic Images, 2009.

The informal sector should be made to complement the academic, I think that’s the German philosophy then. I wish he (Uli Beier) had died in Nigeria, he would have been buried like a king.
— On the input of Uli Beier to the growth of Nigerian art through workshops.

It shouldn’t take ages. In every five to ten years, there should be new masters. But these days, they are emerging faster than one can ever imagine.
— Shortly after the opening of a group exhibition An Evening With the Masters at Terra Kulture, Victoria Island, Oct 2010.

I know that whoever has a collection of Nigerian works now is sitting on gold. What counts now is the passion for collection, which is growing.
— Shortly after his work, a foil panel, Greater Nigeria was sold at record price at auction in Lagos, April 2008.
 It’s so sad; this is destroying the creative history of the Nigeria.
— On the defacement and possible destruction of artworks by Nigerian masters at the newly renovated Muritala Muhammed Int’l Airport, July, Lagos, 2012.

Ten years after Ken Saro Wiwa was put to death by hanging, his name still inspires hope and a spasm of vigour not only in Nigerian youths but, a teeming number of people around the world who clearly identify with his stance on indigence of an area controlling mineral resources produced in these areas.
—  Excepts of his speech delivered to the Rotary Club, Nigeria in 2006

Some generations had certain advantages, which others didn’t have. Every generation tackles issues of their time. Some may be more favoured than others. For example, at the time we were emerging, we had people like Azikiwe, Awolowo, Ahmadu Bello, Jomo Keyatta and others. We were breathing the same air without our knowing it.
— Few weeks before his 80th birthday, Lagos, August, 2012.
Bruce Onobrakpeya (right) with the owners of Nike Art Gallery, Mr and Mrs Okundaye, during the opening of the Ore Idjubili (Jubilee Festival), an exhibition marking the master printmaker's 80th birthday on Saturday.
The Visual Art Perspective: The Way Forward
Being statement he made at the Artists’ Meeting With President Jonathan in March 2011 at Eko Hotel  & Suites, Lagos.
Mr. President, we thank you for taking time off the busy Presidential campaign train to listen to us on the way forward in the Visual Arts which has unlimited potentials for the development of our country. Rather unfortunately, some of our prayers in the past have remained unanswered till date.
• The need for the Cultural Policy to be ratified so that the Endowment Fund for artists can take effect is of paramount importance.
• Artists are looking up to you to use their art to embellish government offices and our foreign mission offices; to display art during important international programmes involving sports and world and regional bodies meetings in Nigeria. Art and the practitioner will develop faster and contribute more to the economy by so doing.
• Partnering with established and recognised NGOs in funding the informal educational sector. Such Workshops like the Harmattan workshops and the Aftershave help develop the arts and open up communities.
• Visual Artists who teach in universities do not need a doctoral degree to become professors as is presently a National Universities Commission requirement.
• That the African Regional Summit and Exhibition on Visual Arts (ARESUVA) be made a biennale like the Dakar or India Biennale.
• Appointing artists as heads of art relevant parastatals
• In concluding, Mr. President, we plead for the speedy development of the National Gallery structures to international standard where artists can have the best exposure.

Sunday 26 August 2012

'Jubilee Festival' for Onobrakpeya at 80

Visitors at the yesterday opening of Dr Bruce Onobrakpeya’s art exhibition Ore Idjubili (Jubilee Festival), at Nike Art Gallery, Lekki Lagos.

Oliver Enwonwu ‘is new SNA President’


The current chairman, Society of Nigerian Artists (SNA), Lagos State Chapter, Oliver Enwonwu has been elected as president of the professional body.

According to an SMS sent by Sir Chuka Nnabuife, the new president, Oliver was elected yesterday (Saturday August 25) during SNA’s convention held at the Recreation Cenre, University of Uyo, Akwa Ibom State.
Oliver Enwonwu


The message which listed Nnabuife among the new executive members as General Secretary also included: Mrs Victoria Ukut, Vice President (East); Alhaji Mahmud Muhammed V.P. (north); Mr Eze Obizue, V.P, (middle-belt); Financial Secretary, Comrade Igbe David; Treasurer, Yemi Oladipo; Assistant Secretary, Tochukwu Okide; Publicity Secretary, Nwachukwu Onuorah. Ex-officio: Uwa Usen, Dr Best Ochigbo and Dr Harry Bazumu. 

Enwonwu whose second term in office as chairman, Lagos State Chapter of SNA expires later this year is the son of late master Prof Ben Enwonwu.

The new president of the artists’ body, Enwonwu was born in Lagos. His bio states: he holds a first degree in biochemistry and post-graduate qualifications in applied geophysics and visual art all from the University of Lagos. He went through an apprenticeship / studio practice under his father. 

 His works centre on diverse expressions of identity in an increasingly globalized world dominated by mass communication. He also explores the effects of post-colonialism and address issues of self-discovery, history and social organization.

He has curated many shows for emergent and established artists and exhibited extensively in Nigeria, New York, Ireland and South Africa. Enwonwu is a member of several bodies including the Art Galleries Association of Nigeria and the Visual Arts Society of Nigeria. He is the founder and executive director, The Ben Enwonwu Foundation and member, Advisory Board, The Art Exchange Limited. Enwonwu is also chairman, Society of Nigerian Artists, Lagos, chief executive, Revilo, an art publishing company, director, Omenka Gallery and founder and editor, Omenka Magazine.

Saturday 25 August 2012

Nigeria's first largest currency note


As you wait for Nigeria’s biggest denomination currency, reflect on our first largest note, The Five Pounds, issued in 1959.

The design: 69/16 x 315/16 Inches; paper material. it was withdrawn in 1965.
The Five Pounds, issued in 1959
When the new N5, 000 note comes next year, it would be of interest to see how the artists and designers would give a good composite of the three ladies: Funmilayo Kuti, women's right activist (1900 -1978); Margaret Ekpo: late politician and social mobilizer (1914 - 2006); Hajia Gambo Sawaba: late politician and activist (1933 - 2001).

Sadly the Central Bank of Nigeria (CBN) does not make the record of the designers of our currencies public. Does the CBN have the names of the designers in their archives? Not exactly, or the management does not think it's important to make it public. 

Others issued were One (1) pound, Ten (10/-) Shillings, Five (5/-) shillings, which were withdrawn in 1965 and coins in the denominations of Two (2/-) shillings, three (3p) Pence One (1p) Penny and One half (1/2p) Penny. The coins were withdrawn in 1973.

Murakami ‘favoured’ to pick Nobel Prize in Literature 2012


The Japanese novelist, Haruki Murakami, according to sources has been made the favourite to receive the prestigious prize this year when the Swedish Academy announces winner in October.

A revered U.K-based gambling company, Ladbrokes, says Murakami, the acclaimed author of titles including Norwegian Wood, The Wind-Up Bird Chronicle and, most recently, IQ84, has the “odds of 10/1 to win the Nobel.”

Last year, Ladbrokes’ second favourite, the Swedish poet Tomas Tranströmer, became the eventual winner of the award after he given initial odds of 9/2 behind the Syrian poet Adonis, at 4/1. But this year Adonis has slipped down the list, given odds of 14/1 alongside the Korean poet Ko Un and the Albanian writer Ismail Kadare.

Observers note that Murakami has long been considered a key contributor to postmodern literature. Critics say he uses much of Western themes, allowing such to influence his writing.



Other frontrunners include the controversial Chinese author Mo Yan, 12/1; a perennial contender and 79 years old Dutch writer Cees Nooteboom, 12/1; South Korean ex-prisoner and poet Ko Un, 14/1.