BEHIND THE EXHIBITION BLACK VENUS – Introducing Aindrea Emelife (@aindreaemelife). Aindrea Emelife – is a Nigerian-British curator and art historian from London. She trained as an art historian at the prestigious Courtauld Institute of Art and has quickly gone on to become a ground-breaking new voice in an art world otherwise steeped in tradition. Aindrea debuted her first column for the Financial Times aged 20 years old, and has been published widely and internationally, including articles in The Guardian, Vanity Fair, The Telegraph, BBC, GQ, Frieze, The Independent, BBC and ArtNet. She features regularly on podcasts, most recently Intelligence Squared, Talk Art, and The Art Newspaper Podcast and is dedicated to public speaking, usually pertaining to discussions of contemporary art, popularising art history and championing female, black or artists of colour. Moreover, Aindrea is the curator behind BLACK VENUS—an exhibition that surveys the legacy of Black Women in visual culture and celebrates Black beauty, while investigating the many faces of Black femininity. Starting April 5th, BLACK VENUS will be on view at Museum of the African Diaspora in San Francisco. Don’t forget to RSVP to Aindrea’s Curator & Artist Talk with Museum of the African Diaspora on April 6th (link-in-bio). To learn more about BLACK VENUS, click the link-in-bio. #BlackVenus #MoAD #AindreaEmelife
In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )
In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )
In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )
In this weekends @ft_weekend Life & Arts I was invited by the FT and Ben Okri to muse on the state of things. As the newly appointed Curator (Modern and Contemporary) at The Edo Museum of West African Art (@emowaa_ ) I have been privileged and humbled to be part of the imagining of a future for West African art. Amidst media grabbing discussion about the overdue restitution of objects, it is clear to me that the happy flappy self congratulation of returns needs to go further. Restitution is meaningless if it doesn’t catalyse and connect with the present and future. @emowaa_ is emblematic of this optimistic future. Stretching from ancient to contemporary it addresses a need to connect with a young, creative population, provide economic opportunities and expand and build museum infrastructure and sites of learning on the continent. But it cannot be an island. If globalisation can bring Africa to the world and the world to Africa, then how does this circulation bring returns? In this article, I envision a truly circular global art ecosystem and authentic collaboration between our hallowed halls in the West and institutions in Africa. I discuss @emowaa_’s plans, my first academic focus as the new Curator and wax lyrical on one of the favourite pieces of Nigerian Modernism: Nigeria 1959 by Demas Nwoko. The past few months have been enriching collaborative thinking between some of our greatest minds. It is an honour to learn, grow and be part of this story. But moreover, it is a call to arms. Restitution is the start of the conversation. Now, we must look to the future. @emowaa_ (Edo Museum of West African Art) is a David Adjaye designed museum and cultural district and opens in stages from 2024. (@adjaye_visual_sketchbook @adjayeassociates )
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
What’s in the colour pink? When I think of pink I think of Venetian red mixed with St John’s White, the lush raucous frivolity of Rococo, the eyeshadow lid of Warhol’s Marilyn or neon flashes of Dan Flavin. Yesterday, pink for me only means Valentino. So excited to be invited to embrace the brands signature colour in honour of their exhibition Forever Valentino. Who said art historians shouldn’t wear pink? 🎀 @maisonvalentino
People and (Places): Aindrea Emelife (London via Lagos) @aindreaemelife on spiritual protection I always carry books with me. I have said that we carry history with us, but I take this literally. I feel grounded with the knowledge of the past and so the possibilities of the future with me. I find a home in people, and I find it in art. Museums were always a place of solace for me. Hyper curious, sometimes dangerously slow, museums are where curiosity is rewarded and where stories live. And each time you visit the story is told differently. I find peace and empowerment in that. All the world’s futures lie ahead. With @bonnielangedijk and @benjaminbreading #Tabayer #PeopleAndPlaces #Oera #CraftedInItaly #FairminedGold
People and (Places): Aindrea Emelife (London via Lagos) @aindreaemelife on spiritual protection I always carry books with me. I have said that we carry history with us, but I take this literally. I feel grounded with the knowledge of the past and so the possibilities of the future with me. I find a home in people, and I find it in art. Museums were always a place of solace for me. Hyper curious, sometimes dangerously slow, museums are where curiosity is rewarded and where stories live. And each time you visit the story is told differently. I find peace and empowerment in that. All the world’s futures lie ahead. With @bonnielangedijk and @benjaminbreading #Tabayer #PeopleAndPlaces #Oera #CraftedInItaly #FairminedGold
People and (Places): Aindrea Emelife (London via Lagos) @aindreaemelife on spiritual protection I always carry books with me. I have said that we carry history with us, but I take this literally. I feel grounded with the knowledge of the past and so the possibilities of the future with me. I find a home in people, and I find it in art. Museums were always a place of solace for me. Hyper curious, sometimes dangerously slow, museums are where curiosity is rewarded and where stories live. And each time you visit the story is told differently. I find peace and empowerment in that. All the world’s futures lie ahead. With @bonnielangedijk and @benjaminbreading #Tabayer #PeopleAndPlaces #Oera #CraftedInItaly #FairminedGold
People and (Places): Aindrea Emelife (London via Lagos) @aindreaemelife on place “Place” has been increasingly something of interest to me. Being part of a Diaspora, of Nigerian heritage but British-born, I have always felt in-between places. Equally, I have always been intrigued by how places can live in one’s soul even when we are elsewhere physically. Traveling ever more frequently to Nigeria has activated a sense of belonging. I navigate the world through art as understanding myself and humanity through art and art history has always felt like the most comfortable and exploratory lens. As a child who couldn’t travel much, art opened the world to me and took me through time and to different places. So, working more in Africa and with art and history opens new parts of myself I perhaps haven’t yet understood. Places provide context. I have a chameleon soul. I feel lucky to feel at home in two places, but in terms of discovering myself, the place that I am drawn to is Nigeria. There is so much of that world, so many ideas, so many stories that have been invisible and are ready for resurrection. With @bonnielangedijk and @benjaminbreading #Tabayer #PeopleAndPlaces #Oera #CraftedInItaly #FairminedGold
People and (Places): Aindrea Emelife (London via Lagos) @aindreaemelife on place “Place” has been increasingly something of interest to me. Being part of a Diaspora, of Nigerian heritage but British-born, I have always felt in-between places. Equally, I have always been intrigued by how places can live in one’s soul even when we are elsewhere physically. Traveling ever more frequently to Nigeria has activated a sense of belonging. I navigate the world through art as understanding myself and humanity through art and art history has always felt like the most comfortable and exploratory lens. As a child who couldn’t travel much, art opened the world to me and took me through time and to different places. So, working more in Africa and with art and history opens new parts of myself I perhaps haven’t yet understood. Places provide context. I have a chameleon soul. I feel lucky to feel at home in two places, but in terms of discovering myself, the place that I am drawn to is Nigeria. There is so much of that world, so many ideas, so many stories that have been invisible and are ready for resurrection. With @bonnielangedijk and @benjaminbreading #Tabayer #PeopleAndPlaces #Oera #CraftedInItaly #FairminedGold
Academic thought sits well when draped in yards of Pierpaolo patented pink. Thank you @maisonvalentino for choosing this fashion-loving art historian to represent the culture of your brand. I’ve always had an affinity with pink, and after rejecting it for the fear of not being taken seriously, I posit that we embrace ourselves beyond reason. We can do it all – and this eyewatering pink is a reminder to embrace all manner of ourselves.
We are still on a high from the opening week of the Nigeria Pavilion at this year’s Biennale. The week unfolded with a series of memorable moments—from inspiring previews featuring insights from the legendary Wole Soyinka to a Venetian-inspired Nigerian dinner with a menu crafted by King the Chef with Future Plate, and our VIP party featuring sounds from Kem Kem and Made Kuti. Each event reflected the dynamic spirit of the exhibition and Nigeria itself. We are grateful for the opportunity to showcase the works, curated by Aindrea Emelife, that were created by an intergenerational group of eight Nigerian and Nigerian diasporic artists – Tunji Adeniyi-Jones, Ndidi Dike, Onyeka Igwe, Toyin Ojih Odutola, Abraham Oghobase, Precious Okoyomon, Yinka Shonibare CBE RA, and Fatimah Tuggar – with the world. @aindreaemelife @tunjiaj @devilintraining_ @memoriesofabiglife @dikendidi @mowaaofficial @edostategovt @fmacce_nigeria “Nigeria Imaginary” beautifully intertwines the past and present of Nigerian art, echoing the Mbari Club’s vision of art as a public duty and a medium for national and cultural discourse. The exhibition not only drew praise for its artistic quality and thematic depth, but it also sparked conversations about the role of African art on the world stage, with Siddhartha Mitter of the New York Times calling it “One of the most ambitious African presentations ever at the Venice Biennale.” We want to extend our deepest gratitude to all our partners and sponsors who brought our pavilion to life; organizing a National Pavilion at the Venice Biennale is no small feat, nor does it flourish under individualism. Thank you to our sponsors, our partners, and you, for joining us in this remarkable journey that continues to push the boundaries of African art and its representation at a global level. Please keep visiting and posting your thoughts, photos, and videos, tagging us @mowaaofficial and @nigeriaimaginary! Learn more about the exhibition and our sponsors at the link in our bio. #NigeriaImaginary #NigeriaPavilion2024 #BiennaleArte2024 #StranieriOvunque #ForeignersEverywhere @labiennale
Culture cannot be trapped as spectacle. One strangely sunny October day I took the train to Oxford to explore the Pitt Rivers Museum in Oxford. After diving deep into Brutish Museums by Dan Hicks, and engaging in incredible conversations with him and his colleagues over the past few months, revisiting the museum further confirmed some things for me. Restitution is not a heritage sector problem; it’s an everyone problem. The removal of ones culture is so unsettling I think we must rethink how we hold culture in the first place. I type this in Lagos amongst people who have never seen these objects and whose family might never see them. Seeing objects like these catalysed a love of art and history and culture in me as a young girl and seeing them as I grow older sparks an inherited nostalgia – a cultural history and a memory that as a Nigerian diaspora, continues to impact the way i embrace my heritage. I cannot help but imagine the impact when they return. Holding space for different cultures within the museum context is finally been embraced by museum pedogagies – but the hows and whys are important. I cannot wait to see the cultural regeneration and invigoration that will happen when these important – in both sacred and aesthetic terms – objects return. Watch this space.
During this research trip to Nigeria, I’ve revelled in learning about the Bakor Monoliths with the help of Ferdinand Saumarez-Smith & Otto Lowe from the Factum Foundation team. These objects were once naturally shaped in riverbeds, and afterward embellished with human intervention, decorated with carvings of facial features and markings, which distinguishes each monolith as an ancestral clan leader. Taking their name from a group of linguistically and ethnically related communities (‘clans’) in an area of approximately 350 square miles in the Middle Cross River region in which they are exclusively found, the word ‘Bakor’ translating as ‘come and take’, a name that was chosen as a collective title because the phrase is identical in the languages of each of the original eight clans that make up the Bakor people. @factum_foundation
During this research trip to Nigeria, I’ve revelled in learning about the Bakor Monoliths with the help of Ferdinand Saumarez-Smith & Otto Lowe from the Factum Foundation team. These objects were once naturally shaped in riverbeds, and afterward embellished with human intervention, decorated with carvings of facial features and markings, which distinguishes each monolith as an ancestral clan leader. Taking their name from a group of linguistically and ethnically related communities (‘clans’) in an area of approximately 350 square miles in the Middle Cross River region in which they are exclusively found, the word ‘Bakor’ translating as ‘come and take’, a name that was chosen as a collective title because the phrase is identical in the languages of each of the original eight clans that make up the Bakor people. @factum_foundation
During this research trip to Nigeria, I’ve revelled in learning about the Bakor Monoliths with the help of Ferdinand Saumarez-Smith & Otto Lowe from the Factum Foundation team. These objects were once naturally shaped in riverbeds, and afterward embellished with human intervention, decorated with carvings of facial features and markings, which distinguishes each monolith as an ancestral clan leader. Taking their name from a group of linguistically and ethnically related communities (‘clans’) in an area of approximately 350 square miles in the Middle Cross River region in which they are exclusively found, the word ‘Bakor’ translating as ‘come and take’, a name that was chosen as a collective title because the phrase is identical in the languages of each of the original eight clans that make up the Bakor people. @factum_foundation
