Goethe-Institut Nigeria is set to unveil “Kedu Lagos,” a pioneering exhibition that promises to redefine the intersection of art, culture and technological innovation.
“Kedu Lagos,” which runs from November 2-30, offering free entry to all who wish to explore this innovative intersection of art, science and cultural memory, will transform the historic Old Government Printing Press on Broad Street, Lagos Island, into a canvas for exploring Lagos’s evolving cultural landscape.
The innovative exhibition, the second edition of Dreaming New Worlds, is reimagining the city’s cultural landscape, blending cutting-edge technology with deep-rooted traditions.
Drawing inspiration from Chief Stephen Osita Osadebe’s nostalgic 1996 highlife album Kedu America, the exhibition repositions the concept of cultural re-grounding within Lagos’s contemporary context. The venue choice itself speaks volumes – the Old Government Printing Press, a testament to Lagos’s colonial heritage, will serve as the backdrop for this forward-looking exploration of Nigerian identity in the digital age.
Curated by Chinyere Obieze and supported by the Goethe-Institut Nigeria, the exhibition challenges visitors to reconsider how knowledge is created, shared and preserved in an increasingly digital world, the project explores the intricate dance between Lagos’s colonial past and its vibrant, evolving present.
“This is not just an exhibition; it’s a conversation about how we remember, how we learn, and how we imagine our future,” explains Dr. Odun Orimolade, one of the project’s mentors.
The theme “Collective Illusions” has drawn artists, scientists and creative technologists into a collaborative investigation of cultural resilience.
Three groundbreaking installations showcase the project’s interdisciplinary approach. Alexandra Martens Serrano’s “Pidgin Choreography” uses quantum entanglement as a metaphor for human connection, drawing parallels between atomic interactions and the way information flows through Nigerian society. The piece transforms digital screen structures found in public spaces into a scientific meditation on communication.
Source Code, a collective of four artists, delves into memory and nostalgia through a mesmerizing interplay of data, photography, and light.
Meanwhile, Chronoverse’s “Totem” installation explores societal rites of passage, comparing the entrepreneurial system of Eastern Nigeria’s Igba boi with similar collective structures in Chinese society.
The exhibition goes beyond mere display, offering a rich programme of events. A panel discussion on digital art in the post-NFT era, architectural heritage talks, and interactive design workshops promise to engage audiences deeply with the project’s themes.
Dr. Nadine Siegert captures the essence of the initiative: “What futures are possible when we connect with the knowledge of the past? Which codes and visions are contained in indigenous knowledge?”
The exhibition represents more than an artistic showcase. It’s a profound exploration of Lagos’s identity – a city shaped by colonial history, economic transformation and a relentless drive towards modernity. By placing cutting-edge technologies like quantum principles, projection mapping, and augmented reality in dialogue with embodied cultural traditions, “Kedu Lagos” offers a nuanced view of cultural evolution.
As visitors walk through the Old Government Printing Press – a relic of British colonial commerce – they are invited to reflect on how knowledge systems adapt, resist, and transform. The exhibition suggests that digital cultures do not replace traditional knowledge but instead provide new platforms for expression and community building.
The Source Code, led by biologist-photographer Ayomitunde Adeleke, includes technical artist Femi Fala, extended reality specialist Neec Nonso, and architectural photographer Olajide Ayeni. Their collaborative work delves into human consciousness through ecological approaches, merging biology with visual arts.
Chronoverse, the second collective, features ceramist Ōlúbùnmi Atere, ex-physicist and Afro-futurist Kolapo Obadiah Olorunyemi, and creative technologists Simileoluwa Adewale and Isaac Johnson. Their work explores temporal dimensions of human existence, bridging traditional craftsmanship with futuristic perspectives.
Visitors can expect an immersive experience featuring quantum principles and augmented reality installations, alongside traditional art forms. The exhibition programme includes interactive workshops, panel discussions on post-NFT new media art, and architectural tours exploring Lagos’s 19th and 20th-century heritage.
“This exhibition represents a crucial dialogue between Lagos’s rich cultural heritage and its technological future,” according to a Goethe-Institut statement. “By housing these installations in a historical building, we’re literally bridging centuries of Nigerian innovation.”
For those interested in attending the exhibition Supported by Studio Quantum, Imisi 3d, Yemisi Shyllon Museum of Art, G.A.S. Foundation, Techcabal, Art Report, the venue’s location at 9 Broad Street, Lagos Island, places it at the heart of Lagos’s historical district, making it easily accessible to both local and international visitors.
For additional information on the programme visit the Dreaming New Worlds 2024 website.
