Last night was a truly magical moment in Chicago , debuting my first film OMI OKUN to the world last with @artonthemart It brought out soo many emotions and feelings of peace. To experience this with a live audience in Chicago gave me soo much joy and inner peace. Watching the greats it brought some people and the connection to story some people found was more than anything I wanted this film to do so thank you world. I hope I made you proud mama ❤️ I really do hope that the world gets to see this film because it truly is my most personal work to date. Thank you Cynthia @artonthemart for trusting me and giving me the space to dream so I could tell this story, thank you to Jennifer @momentum_textiles_walls for sparking the light to lgnite the fire. A huge thank you to my collaborators @jameswilliamblades for creating the beautiful sound for the film, @tedleswer Ted Le Sueur for the incredible 3D Animation, without you both this wouldn’t have been possible and I really mean this for real. A huge thank you to my incredible team as always small but mighty 💎💎. CHI-TOWN 🚀🚀🚀 : Launching as a part of Chicago’s landmark 2024 ART on THE MART summer headline commission (June 6 – September 11, 2024), ‘Omi Okun’, (Yoruban for ‘Sea Water’) is an immersive art film that mirrors Yinka Ilori’s personal memories with the Pentecostal Aladura church in London and the revelations that arise beyond. The film follows the journey of a church member through various rituals and pilgrimage to the seaside. It depicts the transformative act of belief, seeking healing and strength in the community. Mixing moving artwork with sound, central to the narrative is Psalm 24 of David, which is read aloud by Ilori as he reflects on the sovereignty of higher powers.
Last night was a truly magical moment in Chicago , debuting my first film OMI OKUN to the world last with @artonthemart It brought out soo many emotions and feelings of peace. To experience this with a live audience in Chicago gave me soo much joy and inner peace. Watching the greats it brought some people and the connection to story some people found was more than anything I wanted this film to do so thank you world. I hope I made you proud mama ❤️ I really do hope that the world gets to see this film because it truly is my most personal work to date. Thank you Cynthia @artonthemart for trusting me and giving me the space to dream so I could tell this story, thank you to Jennifer @momentum_textiles_walls for sparking the light to lgnite the fire. A huge thank you to my collaborators @jameswilliamblades for creating the beautiful sound for the film, @tedleswer Ted Le Sueur for the incredible 3D Animation, without you both this wouldn’t have been possible and I really mean this for real. A huge thank you to my incredible team as always small but mighty 💎💎. CHI-TOWN 🚀🚀🚀 : Launching as a part of Chicago’s landmark 2024 ART on THE MART summer headline commission (June 6 – September 11, 2024), ‘Omi Okun’, (Yoruban for ‘Sea Water’) is an immersive art film that mirrors Yinka Ilori’s personal memories with the Pentecostal Aladura church in London and the revelations that arise beyond. The film follows the journey of a church member through various rituals and pilgrimage to the seaside. It depicts the transformative act of belief, seeking healing and strength in the community. Mixing moving artwork with sound, central to the narrative is Psalm 24 of David, which is read aloud by Ilori as he reflects on the sovereignty of higher powers.
Last night was a truly magical moment in Chicago , debuting my first film OMI OKUN to the world last with @artonthemart It brought out soo many emotions and feelings of peace. To experience this with a live audience in Chicago gave me soo much joy and inner peace. Watching the greats it brought some people and the connection to story some people found was more than anything I wanted this film to do so thank you world. I hope I made you proud mama ❤️ I really do hope that the world gets to see this film because it truly is my most personal work to date. Thank you Cynthia @artonthemart for trusting me and giving me the space to dream so I could tell this story, thank you to Jennifer @momentum_textiles_walls for sparking the light to lgnite the fire. A huge thank you to my collaborators @jameswilliamblades for creating the beautiful sound for the film, @tedleswer Ted Le Sueur for the incredible 3D Animation, without you both this wouldn’t have been possible and I really mean this for real. A huge thank you to my incredible team as always small but mighty 💎💎. CHI-TOWN 🚀🚀🚀 : Launching as a part of Chicago’s landmark 2024 ART on THE MART summer headline commission (June 6 – September 11, 2024), ‘Omi Okun’, (Yoruban for ‘Sea Water’) is an immersive art film that mirrors Yinka Ilori’s personal memories with the Pentecostal Aladura church in London and the revelations that arise beyond. The film follows the journey of a church member through various rituals and pilgrimage to the seaside. It depicts the transformative act of belief, seeking healing and strength in the community. Mixing moving artwork with sound, central to the narrative is Psalm 24 of David, which is read aloud by Ilori as he reflects on the sovereignty of higher powers.
Last night was a truly magical moment in Chicago , debuting my first film OMI OKUN to the world last with @artonthemart It brought out soo many emotions and feelings of peace. To experience this with a live audience in Chicago gave me soo much joy and inner peace. Watching the greats it brought some people and the connection to story some people found was more than anything I wanted this film to do so thank you world. I hope I made you proud mama ❤️ I really do hope that the world gets to see this film because it truly is my most personal work to date. Thank you Cynthia @artonthemart for trusting me and giving me the space to dream so I could tell this story, thank you to Jennifer @momentum_textiles_walls for sparking the light to lgnite the fire. A huge thank you to my collaborators @jameswilliamblades for creating the beautiful sound for the film, @tedleswer Ted Le Sueur for the incredible 3D Animation, without you both this wouldn’t have been possible and I really mean this for real. A huge thank you to my incredible team as always small but mighty 💎💎. CHI-TOWN 🚀🚀🚀 : Launching as a part of Chicago’s landmark 2024 ART on THE MART summer headline commission (June 6 – September 11, 2024), ‘Omi Okun’, (Yoruban for ‘Sea Water’) is an immersive art film that mirrors Yinka Ilori’s personal memories with the Pentecostal Aladura church in London and the revelations that arise beyond. The film follows the journey of a church member through various rituals and pilgrimage to the seaside. It depicts the transformative act of belief, seeking healing and strength in the community. Mixing moving artwork with sound, central to the narrative is Psalm 24 of David, which is read aloud by Ilori as he reflects on the sovereignty of higher powers.
New collection launching this week in Chicago for @momentum_textiles_walls @neocon_shows a collection of textiles and wall coverings 👌🏾 celebrating the power of dreams and affirmations inspired by Dreamcatchers ❤️ Chi-Town soon come 🔐
New collection launching this week in Chicago for @momentum_textiles_walls @neocon_shows a collection of textiles and wall coverings 👌🏾 celebrating the power of dreams and affirmations inspired by Dreamcatchers ❤️ Chi-Town soon come 🔐
Link in bio 🌊🌊
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Meanwhile in Berlin 🇩🇪 opening today is the new pavilion ‘Reflection in Numbers I designed for @hkw_berlin 🪕🪕🪕 : The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. : Ilori’s work is underpinned by the assertion that ‘the audience must be held accountable for their actions’. What does accountability really mean, to all of us? And what forms can a response to being held accountable take? : This year’s pavilion is not just an artistic representation but a critical examination of issues related to racism in sports. Through its architectural design, it places a deliberate emphasis on the experiences of players who, through football and sports in general, are in a constant state of oscillation between a sense of belonging and the fear of radical exclusion. : The pavilion raises questions on how to deal with racist and discriminatory chants that too often can be heard from the stands at football games. Design elements like mirrors are used in the interior of the pavilion as an impetus for self-reflection and serve as a tool to remind the visitor of their own accountability in perpetuating a culture of exclusion. The round shape of the stadium-like structure means visitors are surrounded by mirrors, no matter where they stand on the inside. Even when standing alone in the pavilion, the mirrors give the sense of being watched by a mass—a multiplication of oneself. By entering this space, the visitor agrees to experience an unusual form of self-consciousness. : thank you to the visionary @bonaventurendikung and @fernandeart for trusting me for the second time ❤️ long may our collaborations continue. And a huge huge thank you to my incredible small but mighty team in working with me in bringing this to life 🪕🪕
Cover of @metropolismag product 2024 Issue. Thank you ❤️ OUT NOW @momentum_textiles_walls
Sea of calabash @hkw_berlin
The pavilion Reflection in Numbers by British-Nigerian multi- disciplinary artist and designer, Yinka Ilori MBE, invites visitors to embark on a critical and artistic journey that explores the complex themes of racism in sports and personal accountability. The pavilion will officially open on 7 June as part of HKW’s festival Ballet of the Masses—On Football and Catharsis. 🪕 @bonaventurendikung 📷 @hannes.wiedemann
📷 @nikkmartin 🪕
OMI OKUN A SHORT FILM BY YINKA ILORI PREVIEWING IN CHICAGO | 6.6.24 | COMMISSIONED BY @artonthemart 🌊🌊
OMI OKUN | TRAILER | CHICAGO | 6.6.24 : Launching as a part of Chicago’s landmark 2024 ART on THE MART summer headline commission (June 6 – September 11, 2024), ‘Omi Okun’, (Yoruban for ‘Sea Water’) is an immersive art film that mirrors Yinka Ilori’s personal memories with the Pentecostal Aladura church in Nigeria and the revelations that arise beyond. The film follows the journey of a church member through various rituals and pilgrimage to the seaside. It depicts the transformative act of belief, seeking healing and strength in the community. Mixing moving artwork with sound, central to the narrative is Psalm 24 of David, which is read aloud by Ilori as he reflects on the sovereignty of higher powers. : Commissioned by @artonthemart
Debuting today in Chicago with @artonthemart to watch online you can click this link here https://facebook.com/events/s/summer-2024-season-premiere-co/962140262029084/ it will be shown live today at 9pm EST Chicago time
Debuting today in Chicago with @artonthemart to watch online you can click this link here https://facebook.com/events/s/summer-2024-season-premiere-co/962140262029084/ it will be shown live today at 9pm EST Chicago time
