What holds all four images together, and what ties The Grindster back to everything Nwachukwu has made before, is his refusal to resolve the tension he’s photographing into a verdict. These are not images asking you to pity the hustle, and they do not ask you to admire it uncritically either; they insist you notice it, the way you might notice, for the first time, effort you had walked past a hundred times without seeing. “A photograph,” Nwachukwu has said, “is more than a visual record.”
Art Reviews
A particular kind of quiet settles over a gallery’s exhibition preview in its first hour…
Walking through Afriart Gallery, you momentarily forget that you are participating in a curated art…
As you take in “What Shaped Us Does Not Disappear,” German-Nigerian artist Joke Amusan’s solo…
Speaking further the curator noted that “our mission is to provide visibility, opportunity, and creative freedom for emerging Nigerian artists and photographers by creating an inclusive exhibition space that celebrates innovation, experimentation, and authentic storytelling.”
There are many more enthralling threads and brilliant analysis of Victor Ehikhamenor’s oeuvre by all the contributing writers to the 208-page book, which, in my view, is a fitting scholarly review and documentation of Ehikhamenor’s art practice to date, and marks a notable milestone in the yet unfolding journey towards his undoubted destiny, of becoming one of the most important artists of his generation, worldwide!
In contemplating the works of these other portrait photographers one notices, almost immediately, the constant focus on the subject, especially the face or in the case of nudes, the body, as the object of the shoot but there is a sharp shift in portraits by Ike Ude which are, as earlier mentioned, usually full length and defined by a quirky dandification, an almost colouring in of the subject into his background something Ike Ude has explained as coming from his past as a painter.
나쁜 애도/Bad Lament responds to this injustice through a queer lens on mourning. The exhibition gathers artists working in performance, video, installation, and drawing. Together, they propose grief not as ritual perfection, but as protest; fragmented, messy, necessary.
Ameh Egwu’s subjects are clearly men as is discernible from their physiognomy but peer as close as you want you cannot make out their facial features. The obscured facial features heighten that sense of the taboo because unable to discern their features, the men seem to be hiding albeit in plain sight.
Adisa Olashile’s body of work reads less like a tidy career arc than like the…
This year featured a rich mix of artists and galleries, both new to 1-54 and a lot of those making their returns. A diverse range of 160 artists amd 60 exhibitors from across Africa, Brazil and beyond. There were the conventional, the zany and the envelope pushers but what seemed clear was that every iteration of 1-54 Art fair is a referendum on contemporary African art
“At Kokab’s House of Art, we believe in nurturing creativity and encouraging young minds to express themselves,” says Mrs. Kokab Farrukh, founder and curator of the exhibition. “This exhibition is more than just a showcase; it’s an opportunity for our students to share their vision with the community, to inspire, and to spark conversations about the world around us.”