This started as a research notebook. Now, I am going about it less systematically and use this blog just as a means to organise my thoughts and ideas, mainly about visual cultures and artistic practices in northern Nigeria, whenever I feel a need for it. In between I use it as a space to drop bits and pieces that may or may be not related.

07 December 2016

Lorry Art Snippets: No Food for Lazy Man



I stumbled across another beautiful (and old-ish) photograph of a painted lorry in Nigeria that I want to share with you here. This is from Dynamic Africa's tumblr feed.


http://dynamicafrica.tumblr.com/post/19676711172/37thstate-no-food-for-lazy-man-enugu

06 December 2016

Cowboy Snippets: 'Choose an older okada driver ...'




Motorbikes


For travelling short distances, you can use motorbike taxis called Okada. These motorbikes are quick, cheap and save a lot of walking but they are also very dangerous. Okada accidents are very common but safety equipment are now provided because the state government and in fact the Federal Road Safety Commission has mandated it. If you want to take the risk, you can safely halve their first price, and usually there are lots to choose from. Before you try and negotiate, confirm the fare from a local. If you have a Nigerian friend, let them negotiate for you as the quoted fare differs greatly for locals and foreigners (for obvious reasons). Choose an older driver as the younger ones are cowboys.

Safety Helmets are a must at all times for both the rider and passenger. Majority of times these are ill-fitting and sometimes even absent.


By law, Okadas are forbidden to ply after dark(7PM) for safety reasons. Avoid taking an Okada for long distances, while it's raining and in the night since majority of mainland is devoid of street lights.


(my emphasis)

This reflects Kunle Adeyemi's use of 'cowboy' as somebody who is willing to takes risks. And, possibly, takes a step further into daredevil or recklessness territory.

30 November 2016

Lorry Art Snippets: Photos from Lagos

I am not enough of a regular on Twitter not to miss the one or the other tweet that might be interesting and have some bearing on the theme of this blog. So, here's one that didn't escape me – although I've seen it somewhat late. So, here's two more images of lorry decoration from Lagos to add to the collection!


Oh, and of course I concur that somebody needs to look into Nigeria lorry decorations in more detail. ;) We're trying to step up to the plate.

29 November 2016

Financial Times features Contemporary Nigerian Art


The other day I was rather pessimistic that contemporary Nigerian arts would benefit from the popularity of by Njideka Akunyili Crosby, one of who's works sold for over US$ 1 mio the other week at Sotheby's African arts sale in New York. Turns out I needn't have been so pessimistic. I missed much more than I'd thought while I was offline – both here and in real life for almost two years. This week the Financial Times, of all newspapers, ran a feature on contemporary Nigerian arts (paywall).

The article by Matthew Green can be found in the section on Investing in Nigeria and accordingly argues that

… a growing number of wealthy Nigerians and international collectors are viewing the country's latest artistic creations with an eye on profit as well as aesthetics. Word of new talent in Lagos spreads quickly to London and New York where the market for contemporary African art is booming. Some buyers are quietly betting that many pieces as will be as well received as work from China once was. New Nigerian art is also resonating more strongly home, supported by a fast-evolving infrastructure of galleries, exhibitions and prizes. Rather than pursuing more timeless or abstract themes, painters, sculptors and photographers are building new audiences by engaging with social issues ranging from the Boko Haram insurgency to the impact of the migration crisis and evolving gender dynamics.

They mention among others Azu Nwagbogu, the director of African Artists' Foundation in Lagos who has been instrumental since 2010 in raising the profile of Nigerian and African photographers with his annual LagosPhoto (just about to come to an end for this year). As well as LagosPhoto, the recent inaugural Art X Lagos received a mention because the exhibition was 'seeking to bridge the gap between contemporary art and popular culture with bold immersive events.

Among the artists they discuss the sculptor Adeniyi 'Niyi' Olagunju features prominently. Olagunju had his first solo exhibition in London in 2010 entitled Structures of Trade (here, an interview he did with the BBC back in those days) and was recently represented at the 1:54 Contemporary African Arts Fair in London. Of particular interest to us here – with that slant towards northern Nigerians art and visual culture is their brief discussion of Fati Abubakar and her Instagram account @bitsofborno. That one's worth checking out for another, very humane perspective on life in the state that keeps on hitting the news because of Boko Haram and the resulting refugee crisis and famine.


Fati Abubakar was already featured by Africa is a Country back in 2015 (when I was still busy running between doctor's appointments) and more recently by CNN, among others. Back then, Africa is a Country quoted her saying that
I love photography and love what it can do as a medium to tell a story. Hence, I’ve decided to use that to document my home state of Borno simply because the religious crisis that has ravaged it showcases only the trauma and despair while forgetting that there are survivors trying to lead normal lives and go on every day despite the insurgency. It is as vital to show resilience as it is death and destruction. Hence my need to capture this aspect of our lives. In my opinion a good photograph is what speaks to your soul. … What I hope to achieve with the photos is to help people see that we are thriving, living, moving on and help rekindle memories of old glory.


Meanwhile, CNN writes

Abubakar is one of the survivors [of the Boko Harm insugency]. During the ongoing insurgency, she has lost neighborhood friends and her mother's best friend was shot. Her family were forced to relocate for a time due to the hostilities. … Abubakar has made it her mission to document the lives of the people of Maiduguri, finding both deep trauma and steely resilience along the way. …
"The (media) focus has been entirely on the bomb blasts, the deaths and the displaced," she says, and though she concedes that those are not unimportant subjects. She adds "I feel there's less focus on anybody left... I wanted people to see after the bomb blast, who was left behind."

With her camera, Abubakar has patrolled Maiduguri for the last six months seeking out personal stories and captioning her images accordingly. …Her lens has captured schoolchildren and grandmothers, vigilantes and merchants, all with a story to tell. People like Alhaji Bukar Tijjani who complains that business has slowed since trade connections with Niger, Chad and Cameroon closed. Mohammed like others Abubakar has met, is putting his trust in Nigerian president Muhammadu Buhari, and believes change is already at hand.
"I ask them about what has happened, how they are coping, just very normal questions," she explains. However with Maiduguri's newest residents "it's usually the same stories that keep occurring. People who have lost family, people who have lost parents," she says, trailing off.


(P.S. Apologies that my choice of photographs from among Abubakar's Instagram account reflects my own interest in the visual arts rather than her more humane interests.)

27 November 2016

Njideka Akunyili Crosby sells for over US$ 1 mio.



This isn't really the place for politics – So, let me just say that news from Nigeria this week have been less than pleasant again with bomb blasts in Maiduguri and the shooting of pro-Biafra protesters (although the army denied that). So, let's focus on the 'other,' more pleasant news that inspired me to write this post: This week a work by Njideka Akunyili Crosby sold for over US$ 1 million at an auction at Sotheby's New Work branch. Note, that's the second time she broke a record.

A new auction record was set for the Nigerian-born artist Njideka Akunyili Crosby in New York last week when "Drown" soared to sell for $1,092,500, over three times the high-estimate ($200,000-$300,000), in Sotheby's Contemporary Art Evening Sale. No fewer than 11 bidders competed for the work that was eventually sold to an anonymous buyer on the telephone.
This was the second time in less than two months that the auction record for Njideka Akunyili Crosby had been broken at Sotheby's. The previous auction record for the artist was $93,750, set by her "Untitled" work from 2011 at Sotheby's New York in September 2016.
"Drown" is an intimate self-portrait of the artist with her husband, Justin, and demonstrates beautifully how the layers of Njideka Akunyili Crosby's work reference the layers of her own identity.
In May next year, Sotheby's will launch its first dedicated sales of "African Modern and Contemporary Art" in London, led by Hannah O'Leary, Sotheby's recently-appointed Head of Modern and Contemporary African Art.
(source: This Day via AllAfrica.com)

I think that's amazing. Good for her. One can only hope that her success somewhat raises the profile of contemporary Nigerian arts. I do have my doubts though. Contemporary art does seem to experience some kind of renaissance in Nigeria at the moment – with major exhibitions and sales and Nigerian collectors picking up works. Still, Crosby's success probably reflects – in addition to her undoubtable talents – the fact that, although born in Enugu in 1983, she studied arts in the US (her CV mentions Swarthmore College in Pennsylvania, the Pennsylvania Academy of Fine Arts in Philadelphia and Yale University School of Art in Connecticut) where she is still based. She lives in Los Angeles. In other words, she benefits from networks and a proximity to wealthy collectors that is denied to artists based in Nigeria. As I said, I don't envy her those privileges nor the success. I just think it's sad that in this day and age whether an artist is based in the so-called global north or south still matters this much.