Very exciting news ✨ Thrilled and honoured to join the @emowaa_ team as the newly appointed inaugural Curator (Modern and Contemporary) at EMOWAA (Edo Museum of West African Art), a new David Adjaye designed (@adjaye_visual_sketchbook) museum district in Benin City, Nigeria opening in stages from 2024. As a Nigerian, London born, I am spiritually connected to this mission and honoured to be part of this history making project. Having joined the team some months ago, I’ve learnt so much from so many members of the team – expanding my view from archaeology to important aspects of museum practice that one is rarely afforded the opportunity to be the part of from the get go. It is an enormous opportunity to be part of shaping the blueprint for what a museum of the future and a museum in Africa can be, as well as working with academics such as @chikaokekeagulu who I have so admired as I build and research the first research and exhibition projects as well as collection strategies. I talk a lot more about the plans over at @theartnewspaper.official What a journey! 🇳🇬 more exciting news to come… Typing from Lagos! I am loving splitting my time between Nigeria, the U.K. and wherever a plane will take me ✈️
The Nigeria Pavilion presents ‘Nigeria Imaginary’ at The Venice Biennale 2024. Curated by Aindrea Emelife, Curator of Modern and Contemporary Art at MOWAA (Museum of West African Art), the Nigeria Pavilion showcases commissioned, site-specific works by a cross-generational group of artists—Tunji Adeniyi-Jones, Ndidi Dike, Onyeka Igwe, Toyin Ojih Odutola, Abraham Oghobase, Precious Okoyomon, Yinka Shonibare CBE RA, and Fatimah Tuggar—who were selected to respond to the theme and exhibition title Nigeria Imaginary. Using mediums that include painting, sculpture, drawing, photography, installation, sound, AR, and film, the artists explore the many Nigerias that live in their minds, whether as moments of history, nostalgic moods, or visions of a Nigeria that is yet to be. Christie’s is delighted to be a sponsor of the Nigerian Pavilion. #venicebiennale #venicebiennale2024 #venice #biennalearte #christiesatvenice #BiennaleArte2024 #StranieriOvunque #NigeriaImaginary @labiennale @nigeriaimaginary @aindreaemelife @mowaaofficial
Appointed Curator of the Nigeria Pavilion at next years Venice Biennale! I can’t quite believe I am typing this. I am beyond honoured to have been appointed as the Curator of the Nigeria Pavilion at the 60th International Art Exhibition of La Biennale di Venezia. This is not something I take lightly. The hard, dedicated and enduring work has already begun. Working with and having the trust of all the artists I have selected – so dynamic, cross-generational, and interdisciplinary – has and will continue to be the greatest privilege as we imagine, dream and seek to realise the important mission of representing a nation. The Nigeria Imaginary will be a manifesto. Indeed, the imagination is the most fertile and powerful tool of liberation we possess. I have a change agenda. To be able to enact and articulate this – as a young curator, committed to the power art has to change us – at one of the art worlds most important platforms will be the most important thing I have done in my career so far. Not for or in service of myself, but in a mission to show the world that there is so much more than we have been told. So much more to Nigeria and to Africa that limited imaginations have propagandised. This project is deeply aligned with our mission at MOWAA (@mowaaofficial ) As MOWAA’s Curator of Modern and Contemporary, it has been deeply meaningful to begin to demonstrate our vision with this project, but also to ensure its relevance and meaning back home. With MOWAA’s organisational support, the Nigerian Pavilion will tour back to MOWAA as the inaugural exhibition of our Rainforest Gallery, the first exhibition space opening in the MOWAA Creative District in 2025.
NEW YORK TIMES!! 💚🤍💚 Waking up bleary eyed to this was a shock. This comes at the final push of an intense installation period for easily one of the most ambitious and important exhibitions I have and will ever curate. It is important because it has the significant potential to mean more than the sum of its parts. At the heart, it urges us to imagine and dream in new ways and with a new nation and under the surface at times tells a narrative of many different interactions with nationhood and how these perspectives shape how we envision a new nation. The exhibition is a manifesto. It is a proposal. During this installation process I have felt immense gratitude to the artists. All of whom have pushed their practices and evoked Nigeria Imaginary in such powerful ways. Never in my wildest dreams would I have imagined working so closely with artists I admire so much. You have taught me so much about the power of art and the imaginary and about myself. (@tunjiaj @shonibarestudio @memoriesofabiglife @dikendidi @devilintraining_ @oghobaseabraham Toyin & Fatimah) Not long now! Everything is shaping up and I can’t wait to reveal to you all next week! So many thanks to @siddharthamitter for so beautifully capturing the essence of the exhibition and teasing these incredible works! Highlighting the journey from Nigeria to Venice (and back!). The piece is an invitation into the state of things and a liberated future. And to an amazing team 💪🏾 @mowaaofficial @dhoffice Ty @nytimes !! Off we goooooo 🚀 🇳🇬 📸 @demayda 👗 @newbottega (Grazie Alexandre!!!!)
LAGOS CALLING: Elle U.K. Nov Issue Honoured to be a main feature in @elleuk November Issue. Interviewed by @omfgnoway I speak about growing up in Earls Court as an art loving curious child, a path changing bursary to @courtauld curating guerilla-style at end of lease retail properties all the way up to the current moment as I plan my vision as the Curator of the Nigeria Pavilion at next years Venice Biennale and work on the most exhilarating history making project as the Curator at @mowaaofficial – Museum of West African Art There’s lots of bits about my life between London and Lagos, as well as next weeks upcoming collaboration with @christiesinc as the auction “Know Who We Are” sees global artists donate works to support the Nigeria Pavilion at Venice Biennale 2024 and MOWAA’s Rainforest Gallery, designed by architect @worofila , where the Nigeria Pavilion will return to. Pinching myself to be called this years “breakout star” but know that at the heart of it all, my vision is much bigger than myself. Ever afraid of a self centric life, this is about expanding history. Thrilled that this history is being considered “safe in [my] hands” Wearing some of my favourite Nigerian designers @torloweiworld @kadijuofficial @oiza.___ 🇳🇬 🇳🇬 🇳🇬 🇳🇬 🇳🇬 EIC @kenyahunt Photographer @laurenmaccabee Deputy Editor @lenadecasparis Styling @crystallecox Art Director @lozzysj Shoot Producer elizabeth_m_wood Features Director @hlucynat Hair @abrakennedy Make up @dalila_mua Writer @omfgnoway
LAGOS CALLING: Elle U.K. Nov Issue Honoured to be a main feature in @elleuk November Issue. Interviewed by @omfgnoway I speak about growing up in Earls Court as an art loving curious child, a path changing bursary to @courtauld curating guerilla-style at end of lease retail properties all the way up to the current moment as I plan my vision as the Curator of the Nigeria Pavilion at next years Venice Biennale and work on the most exhilarating history making project as the Curator at @mowaaofficial – Museum of West African Art There’s lots of bits about my life between London and Lagos, as well as next weeks upcoming collaboration with @christiesinc as the auction “Know Who We Are” sees global artists donate works to support the Nigeria Pavilion at Venice Biennale 2024 and MOWAA’s Rainforest Gallery, designed by architect @worofila , where the Nigeria Pavilion will return to. Pinching myself to be called this years “breakout star” but know that at the heart of it all, my vision is much bigger than myself. Ever afraid of a self centric life, this is about expanding history. Thrilled that this history is being considered “safe in [my] hands” Wearing some of my favourite Nigerian designers @torloweiworld @kadijuofficial @oiza.___ 🇳🇬 🇳🇬 🇳🇬 🇳🇬 🇳🇬 EIC @kenyahunt Photographer @laurenmaccabee Deputy Editor @lenadecasparis Styling @crystallecox Art Director @lozzysj Shoot Producer elizabeth_m_wood Features Director @hlucynat Hair @abrakennedy Make up @dalila_mua Writer @omfgnoway
LAGOS CALLING: Elle U.K. Nov Issue Honoured to be a main feature in @elleuk November Issue. Interviewed by @omfgnoway I speak about growing up in Earls Court as an art loving curious child, a path changing bursary to @courtauld curating guerilla-style at end of lease retail properties all the way up to the current moment as I plan my vision as the Curator of the Nigeria Pavilion at next years Venice Biennale and work on the most exhilarating history making project as the Curator at @mowaaofficial – Museum of West African Art There’s lots of bits about my life between London and Lagos, as well as next weeks upcoming collaboration with @christiesinc as the auction “Know Who We Are” sees global artists donate works to support the Nigeria Pavilion at Venice Biennale 2024 and MOWAA’s Rainforest Gallery, designed by architect @worofila , where the Nigeria Pavilion will return to. Pinching myself to be called this years “breakout star” but know that at the heart of it all, my vision is much bigger than myself. Ever afraid of a self centric life, this is about expanding history. Thrilled that this history is being considered “safe in [my] hands” Wearing some of my favourite Nigerian designers @torloweiworld @kadijuofficial @oiza.___ 🇳🇬 🇳🇬 🇳🇬 🇳🇬 🇳🇬 EIC @kenyahunt Photographer @laurenmaccabee Deputy Editor @lenadecasparis Styling @crystallecox Art Director @lozzysj Shoot Producer elizabeth_m_wood Features Director @hlucynat Hair @abrakennedy Make up @dalila_mua Writer @omfgnoway
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Opening week! We can’t believe it’s almost here. As we countdown to Saturday, enjoy some install pics and final touches before opening week activities! We can’t wait to host you all at the Nigeria Pavilion. #NigeriaPavilion2024 #NigeriaImaginary #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
NIGERIA IMAGINARY INCUBATOR PROJECT No one person can envision a nation as vast and as electric as Nigeria; so we asked the community! One cannot be an island – or have an ultimate view on the world; or a country. There is power in collective dreaming and imagining! What does Nigeria smell like? What song reminds you of your grandmother? What do you miss the most about Nigeria? These are some of the questions we asked audiences at Art X Lagos and EdoFest as part of the Nigeria Imaginary Incubator Project. In these installations, visitors were invited to interact with the themes of the Nigeria Pavilion – to recount their memories, nostalgias, ideas and perspectives of Nigeria. These imaginings informed the research process and will be featured as part of the Nigeria Pavilion! Evoking the Nigeria Imaginary means looking at the state of things and listening to the voices of restless dreamers. Featured in the Pavilion, these audio responses will follow you and contextualise, and encourage you to imagine what was then, what is now and what could be. #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @mowaaofficial
The Nigeria Pavilion at The 60th International Art Exhibition is open! It will run from Saturday 20 April to Sunday 24 November 2024. This week, we had the opportunity to provide a preview of the Nigeria Pavilion to esteemed members of the art community. The feedback we received was overwhelmingly positive and reinforced our belief in the significance of this endeavour. The Pavilion, which features 8 artists – Tunji Adeniyi-Jones, Ndidi Dike, Onyeka Igwe, Toyin Ojih Odutola, Abraham Oghobase, Precious Okoyomon, Yinka Shonibare CBE RA, Fatimah Tuggar – responds to the theme and title “Nigeria Imaginary”. We hope you get a chance to visit too. Tag us @mowaaofficial and @nigeriaimaginary when you do! NIGERIA IMAGNARY Nigerian Pavilion 20.4-24.11.2024 Palazzo Canal, 3121 Rio Tera Canal Dorsoduro, Venice Curated by Aindrea Emelife Commissioned by the Edo State Governor, Godwin Obaseki, on behalf of Nigeria’s Federal Ministry of Art, Culture and the Creative Economy under the leadership of Honorable Minister Barr. Hannatu Musa Musawa. Organized by The Museum of West African Art (MOWAA) #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale #nigeriaimaginary #nigeriapavilion2024
Ever wondered about the research stage of curating a National Pavilion? Many months ago (and continuously so) I embarked on an immersion into some key research themes. One of them being the Mbari Club. What is maybe lesser understood, is the archiving and centralising of this research that still needs to be done. These texts are key insights into a period where a certain school of artists were emerging and imagining a new kind of art. Against the backdrop of independence, the Mbari Club emerged as a vessel for Nigerian modernism, blending the modern artistic movements from Europe with a fervent, nationalist spirit. Founded in 1961 in Ibadan, Oyo State, Nigeria, and later in Osogbo, Osun State, by 1962, these clubs embodied the spirit of ‘Mbari’—an Igbo concept denoting creation, often represented by an open sided house. These creative hubs became vital for artistic expression and cultural dialogue, hosting an array of performances, exhibitions, and gatherings that nurtured the talents of African artists and writers. With a performance theatre, art gallery, publishing house, and library, The Mbari Clubs played a crucial role in shaping a burgeoning cultural identity and a modern African artistic identity. Artists and writers like Aina Onabolu, Ben Enwonwu, Uche Okeke, and Chinua Achebe, used their art to challenge colonialism and European hegemony. Follow @nigeriaimaginary & @mowaaofficial for more insights! #MbariClub #MbariMbayo #nigerianmodernism 📷📚 Alex La Guma, A Walk In the Night Uche Okeke, Drawings Bakare Gbadamosi, Oriki Jean-Joseph Rabearivelo, 24 Poems Dennis Brutus, Sirens, Knuckles, Boots Felix Tchikaya U’Tamsi, Brush Fire Black Orpheus: A Journal of African and Afro-American Literature, Cover John Pepper Clark, Poems Felix Tchikaya U’Tamsi, Brush Fire Lenrie Peters, Poems Leon Damas, African Songs of Love, War, Grief, and Abuse Ulli Beier and Bakare Gbadamosi, The Moon Cannot Fight: Yoruba Children’s Poems George Awoonor Williams, Rediscovery and Other Poems Ulli Beier, Yemi Bisiri: a Yuruba Brass Caster Ulli Beier, ed., Political Spider: Stories from Black Orpheus Images courtesy of Josh MacPhee’s scans / justseeds.org
Ever wondered about the research stage of curating a National Pavilion? Many months ago (and continuously so) I embarked on an immersion into some key research themes. One of them being the Mbari Club. What is maybe lesser understood, is the archiving and centralising of this research that still needs to be done. These texts are key insights into a period where a certain school of artists were emerging and imagining a new kind of art. Against the backdrop of independence, the Mbari Club emerged as a vessel for Nigerian modernism, blending the modern artistic movements from Europe with a fervent, nationalist spirit. Founded in 1961 in Ibadan, Oyo State, Nigeria, and later in Osogbo, Osun State, by 1962, these clubs embodied the spirit of ‘Mbari’—an Igbo concept denoting creation, often represented by an open sided house. These creative hubs became vital for artistic expression and cultural dialogue, hosting an array of performances, exhibitions, and gatherings that nurtured the talents of African artists and writers. With a performance theatre, art gallery, publishing house, and library, The Mbari Clubs played a crucial role in shaping a burgeoning cultural identity and a modern African artistic identity. Artists and writers like Aina Onabolu, Ben Enwonwu, Uche Okeke, and Chinua Achebe, used their art to challenge colonialism and European hegemony. Follow @nigeriaimaginary & @mowaaofficial for more insights! #MbariClub #MbariMbayo #nigerianmodernism 📷📚 Alex La Guma, A Walk In the Night Uche Okeke, Drawings Bakare Gbadamosi, Oriki Jean-Joseph Rabearivelo, 24 Poems Dennis Brutus, Sirens, Knuckles, Boots Felix Tchikaya U’Tamsi, Brush Fire Black Orpheus: A Journal of African and Afro-American Literature, Cover John Pepper Clark, Poems Felix Tchikaya U’Tamsi, Brush Fire Lenrie Peters, Poems Leon Damas, African Songs of Love, War, Grief, and Abuse Ulli Beier and Bakare Gbadamosi, The Moon Cannot Fight: Yoruba Children’s Poems George Awoonor Williams, Rediscovery and Other Poems Ulli Beier, Yemi Bisiri: a Yuruba Brass Caster Ulli Beier, ed., Political Spider: Stories from Black Orpheus Images courtesy of Josh MacPhee’s scans / justseeds.org
Ever wondered about the research stage of curating a National Pavilion? Many months ago (and continuously so) I embarked on an immersion into some key research themes. One of them being the Mbari Club. What is maybe lesser understood, is the archiving and centralising of this research that still needs to be done. These texts are key insights into a period where a certain school of artists were emerging and imagining a new kind of art. Against the backdrop of independence, the Mbari Club emerged as a vessel for Nigerian modernism, blending the modern artistic movements from Europe with a fervent, nationalist spirit. Founded in 1961 in Ibadan, Oyo State, Nigeria, and later in Osogbo, Osun State, by 1962, these clubs embodied the spirit of ‘Mbari’—an Igbo concept denoting creation, often represented by an open sided house. These creative hubs became vital for artistic expression and cultural dialogue, hosting an array of performances, exhibitions, and gatherings that nurtured the talents of African artists and writers. With a performance theatre, art gallery, publishing house, and library, The Mbari Clubs played a crucial role in shaping a burgeoning cultural identity and a modern African artistic identity. Artists and writers like Aina Onabolu, Ben Enwonwu, Uche Okeke, and Chinua Achebe, used their art to challenge colonialism and European hegemony. Follow @nigeriaimaginary & @mowaaofficial for more insights! #MbariClub #MbariMbayo #nigerianmodernism 📷📚 Alex La Guma, A Walk In the Night Uche Okeke, Drawings Bakare Gbadamosi, Oriki Jean-Joseph Rabearivelo, 24 Poems Dennis Brutus, Sirens, Knuckles, Boots Felix Tchikaya U’Tamsi, Brush Fire Black Orpheus: A Journal of African and Afro-American Literature, Cover John Pepper Clark, Poems Felix Tchikaya U’Tamsi, Brush Fire Lenrie Peters, Poems Leon Damas, African Songs of Love, War, Grief, and Abuse Ulli Beier and Bakare Gbadamosi, The Moon Cannot Fight: Yoruba Children’s Poems George Awoonor Williams, Rediscovery and Other Poems Ulli Beier, Yemi Bisiri: a Yuruba Brass Caster Ulli Beier, ed., Political Spider: Stories from Black Orpheus Images courtesy of Josh MacPhee’s scans / justseeds.org
Ever wondered about the research stage of curating a National Pavilion? Many months ago (and continuously so) I embarked on an immersion into some key research themes. One of them being the Mbari Club. What is maybe lesser understood, is the archiving and centralising of this research that still needs to be done. These texts are key insights into a period where a certain school of artists were emerging and imagining a new kind of art. Against the backdrop of independence, the Mbari Club emerged as a vessel for Nigerian modernism, blending the modern artistic movements from Europe with a fervent, nationalist spirit. Founded in 1961 in Ibadan, Oyo State, Nigeria, and later in Osogbo, Osun State, by 1962, these clubs embodied the spirit of ‘Mbari’—an Igbo concept denoting creation, often represented by an open sided house. These creative hubs became vital for artistic expression and cultural dialogue, hosting an array of performances, exhibitions, and gatherings that nurtured the talents of African artists and writers. With a performance theatre, art gallery, publishing house, and library, The Mbari Clubs played a crucial role in shaping a burgeoning cultural identity and a modern African artistic identity. Artists and writers like Aina Onabolu, Ben Enwonwu, Uche Okeke, and Chinua Achebe, used their art to challenge colonialism and European hegemony. Follow @nigeriaimaginary & @mowaaofficial for more insights! #MbariClub #MbariMbayo #nigerianmodernism 📷📚 Alex La Guma, A Walk In the Night Uche Okeke, Drawings Bakare Gbadamosi, Oriki Jean-Joseph Rabearivelo, 24 Poems Dennis Brutus, Sirens, Knuckles, Boots Felix Tchikaya U’Tamsi, Brush Fire Black Orpheus: A Journal of African and Afro-American Literature, Cover John Pepper Clark, Poems Felix Tchikaya U’Tamsi, Brush Fire Lenrie Peters, Poems Leon Damas, African Songs of Love, War, Grief, and Abuse Ulli Beier and Bakare Gbadamosi, The Moon Cannot Fight: Yoruba Children’s Poems George Awoonor Williams, Rediscovery and Other Poems Ulli Beier, Yemi Bisiri: a Yuruba Brass Caster Ulli Beier, ed., Political Spider: Stories from Black Orpheus Images courtesy of Josh MacPhee’s scans / justseeds.org
Ever wondered about the research stage of curating a National Pavilion? Many months ago (and continuously so) I embarked on an immersion into some key research themes. One of them being the Mbari Club. What is maybe lesser understood, is the archiving and centralising of this research that still needs to be done. These texts are key insights into a period where a certain school of artists were emerging and imagining a new kind of art. Against the backdrop of independence, the Mbari Club emerged as a vessel for Nigerian modernism, blending the modern artistic movements from Europe with a fervent, nationalist spirit. Founded in 1961 in Ibadan, Oyo State, Nigeria, and later in Osogbo, Osun State, by 1962, these clubs embodied the spirit of ‘Mbari’—an Igbo concept denoting creation, often represented by an open sided house. These creative hubs became vital for artistic expression and cultural dialogue, hosting an array of performances, exhibitions, and gatherings that nurtured the talents of African artists and writers. With a performance theatre, art gallery, publishing house, and library, The Mbari Clubs played a crucial role in shaping a burgeoning cultural identity and a modern African artistic identity. Artists and writers like Aina Onabolu, Ben Enwonwu, Uche Okeke, and Chinua Achebe, used their art to challenge colonialism and European hegemony. Follow @nigeriaimaginary & @mowaaofficial for more insights! #MbariClub #MbariMbayo #nigerianmodernism 📷📚 Alex La Guma, A Walk In the Night Uche Okeke, Drawings Bakare Gbadamosi, Oriki Jean-Joseph Rabearivelo, 24 Poems Dennis Brutus, Sirens, Knuckles, Boots Felix Tchikaya U’Tamsi, Brush Fire Black Orpheus: A Journal of African and Afro-American Literature, Cover John Pepper Clark, Poems Felix Tchikaya U’Tamsi, Brush Fire Lenrie Peters, Poems Leon Damas, African Songs of Love, War, Grief, and Abuse Ulli Beier and Bakare Gbadamosi, The Moon Cannot Fight: Yoruba Children’s Poems George Awoonor Williams, Rediscovery and Other Poems Ulli Beier, Yemi Bisiri: a Yuruba Brass Caster Ulli Beier, ed., Political Spider: Stories from Black Orpheus Images courtesy of Josh MacPhee’s scans / justseeds.org
Last week marked the 60th Venice Biennale. Earlier in the year, Elephant writer Shaquille Heath (@_shaqy) spoke with curator, Aindrea Emelife (@aindreaemelife) , and renowned artist, Yinka Shonibare (@shonibarestudio), about the Nigerian pavilion. “The two, who have both split their lives between Nigeria and London, talk slowly with me on a Monday afternoon, crowds of Londoners swelling outside their respective apartments celebrating the Summer bank holiday. But inside, these two were a land away, transporting us to the heart of Lagos, and conspiring on how to transmit that pulse to Venice in 2024. It is remarkable to watch Emelife and Shonibare go back and forth in lockstep, and it is clear that they share the same artistic vision and aspirations for the pavilion. “I think that’s something that’s really fundamental to me. The historical and heritage,” shared Shonibare. “Where have we come from? Why are we where we are today? And what’s the impact of the past on the present? Those things are very important, because until we start to actually understand the past, it’s almost impossible to understand the present.” Shaquille Heath (@_shaqy) records the thoughts and processes between Aindrea Emelife (@aindreaemelife) and Yinka Shonibare (@shonibarestudio) prior to the landmark exhibition of the most ambitious Nigerian pavilion to date. Live on the site now. Photos by: @james_re
Last week marked the 60th Venice Biennale. Earlier in the year, Elephant writer Shaquille Heath (@_shaqy) spoke with curator, Aindrea Emelife (@aindreaemelife) , and renowned artist, Yinka Shonibare (@shonibarestudio), about the Nigerian pavilion. “The two, who have both split their lives between Nigeria and London, talk slowly with me on a Monday afternoon, crowds of Londoners swelling outside their respective apartments celebrating the Summer bank holiday. But inside, these two were a land away, transporting us to the heart of Lagos, and conspiring on how to transmit that pulse to Venice in 2024. It is remarkable to watch Emelife and Shonibare go back and forth in lockstep, and it is clear that they share the same artistic vision and aspirations for the pavilion. “I think that’s something that’s really fundamental to me. The historical and heritage,” shared Shonibare. “Where have we come from? Why are we where we are today? And what’s the impact of the past on the present? Those things are very important, because until we start to actually understand the past, it’s almost impossible to understand the present.” Shaquille Heath (@_shaqy) records the thoughts and processes between Aindrea Emelife (@aindreaemelife) and Yinka Shonibare (@shonibarestudio) prior to the landmark exhibition of the most ambitious Nigerian pavilion to date. Live on the site now. Photos by: @james_re
Last week marked the 60th Venice Biennale. Earlier in the year, Elephant writer Shaquille Heath (@_shaqy) spoke with curator, Aindrea Emelife (@aindreaemelife) , and renowned artist, Yinka Shonibare (@shonibarestudio), about the Nigerian pavilion. “The two, who have both split their lives between Nigeria and London, talk slowly with me on a Monday afternoon, crowds of Londoners swelling outside their respective apartments celebrating the Summer bank holiday. But inside, these two were a land away, transporting us to the heart of Lagos, and conspiring on how to transmit that pulse to Venice in 2024. It is remarkable to watch Emelife and Shonibare go back and forth in lockstep, and it is clear that they share the same artistic vision and aspirations for the pavilion. “I think that’s something that’s really fundamental to me. The historical and heritage,” shared Shonibare. “Where have we come from? Why are we where we are today? And what’s the impact of the past on the present? Those things are very important, because until we start to actually understand the past, it’s almost impossible to understand the present.” Shaquille Heath (@_shaqy) records the thoughts and processes between Aindrea Emelife (@aindreaemelife) and Yinka Shonibare (@shonibarestudio) prior to the landmark exhibition of the most ambitious Nigerian pavilion to date. Live on the site now. Photos by: @james_re
