Thursday, 2 July 2009

OPEN CALL: Video Art Exhibition at CCA,Lagos

2008/9 Video Art Workshop
In October 2008 CCA,Lagos ran its first one week video workshop in collaboration with the one minute video art foundation led by the Selby Gildemacher and Heerko van der Kooij. This was followed in January 2009 by a two week workshop developed by Angolan artist Miguel Petchkovsky Linha Imaginaria and co-led by Camerounian artist Goddy Leye and Brazilian artist Eustaquio Neves.

Identity: An Imagined State (Draft title)

Video Art Exhibition

Call for participation

more info and application form at www.ccalagos.org

Following the implementation of two successful video art workshops, the Centre for Contemporary Art, Lagos will be hosting the first video art exhibition in Lagos, taking the form of a three part project to be held in October/November 2009. The exhibition Identity: An Imagined State will cover themes that each takes a different perspective on notions of identity exploring issues of race, citizenship and migration using. The exhibition aims to provide a platform in Lagos for emerging and established video artists.

The exhibition, split into sections listed below will form the curatorial framework for the submission of works.

The first section of the exhibition aims to explore issues relating to race or skin tone and the impact it has made on identity amongst African people (living on the continent). Particular areas of interest relate to those whose racial identity is made up of multi-ethnic backgrounds, the problematic of skin toning (skin lightening) and non-Black Africans. By asking questions such as; can we always tell what race is when we see it? What role does race place in society? How do we negotiate between skin tone and identity?

The second section explores the challenges of political, economic and social predicaments, which have engendered voluntary or forced migratory movements into and out of Africa. The impacts of these actions have resulted in changes such as displacement, deprivation, enhanced economic benefits and psychological transformations.

This project will present a body of work by artists that engage with migration and trans-national pattern of movement in our continuously globalizing world. It will explore the effects and impacts of migration within and out of the continent, highlight issues on memory, identity, displacement, alienation as well as the challenges that arise from cultural and physical separation.

Video artists of African descent or artists of any nationality exploring these themes in relation to Africa are invited to make a submission for either one or both areas of interest. We ask for all videos to be sent in either English or with English subtitles. Submissions should be made in the following manner:

DVD containing maximum 3 works

A Full CV

An Artist Statement

2x still images from the video (minimum 75 dpi)

Completed application form below

Deadline Friday 10th July 2009

more info and application form at www.ccalagos.org

Please note that submitted work cannot be returned and unless indicated otherwise will form part of CCA,Lagos’ visual art library collection used for research and learning purposes only.

Bisi Silva's Art Place

Bisi Silva's Art Place

When the Centre for Contemporary Art (CCA) opened its doors in 2007 for its first exhibition, ‘Democrazy', a show displaying the works of the trio of artists, Lemi Ghariokwu, Ndidi Dike and George Osodi, it only marked the beginning of a stream of exhibitions and programmes that have brought over twenty five speakers and drawn international collaborations.

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Sunday, 21 June 2009

Starting with Africa in Oslo in Feb 2009, It has been a hectic 6mths

The past six months has been hectic, in fact almost blinding full of insightful experiences. There has been no time to update the blog until now that finally respite has come my way. Over the next week or so let me see if I can catch up by giving a run down.

Activities began in February with the opening of the Africa in Oslo project. The project was one of those ‘Africa’ projects – regardless of any effort to frame it otherwise - that I am usually not too fond of however the possibility of working in Lusophone Africa proved too tempting to resist. 5 major Norwegian art institutions were involved. It was initiated by the National Museum of Art, Design and Architecture, project led by Marith Hope with Gavin Jantges as artistic director. The norwegian curators were paired with a curator on the continent and focused on a specific region or country. Instead of the usual sprawling exhibition, each partnership determined their own curatorial premise. I worked with Daniella Wennberg and Marianne Hultman and after the initial research visit by Wennberg to Angola, Mozambique and Zambia we decided to focus on one country Mozambique and even more specifically on one city Maputo. We found that there was a common thread running through almost all the artists we met irrespective of the media of which there is a healthy diversity of varying quality and depth. The exhibition Maputo; A Tale of One City presented the works of seven artists born in Maputo such as Angela Ferreria, living in Maputo such as Pompilo Hilario (Gemuce), also living in Maputo but from elsewhere like longtime resident Zimbabwean artist Berry Bickle and artists carrying out a project or body of work in Maputo like Nigerian artist Emeka Okereke. A younger generation of Mozambican artists included Mauro Pinto, Rahael Mouzinho and Lourenco de Pino. Their different experiences and perspective wove into a coherent (that is according to me) interweaving narrative taking the city as the starting point through video, photography, installation and painting.


Installation view at Oslo Fine Art Gallery. On wall
work by Lourenco de Pino, installation by Raphael Mouhzino



Installation view Oslo Fine Arts Society, Works by Emeka Okereke
(More pictures to come which are stuck on my crashed other computer.)

The opening was very well attended with the Mozambican ambassador to Norway presenting a well articulated speech in impeccable English and with the Norwegian ambassador to Mozambique who came from Maputo for the opening. A true cultural partnership indeed. In addition, out of the five main exhibitions that consitutue AiO, the Maputo exhibition has been chosen to tour to several venues in Norway over the next 18months giving wider visibility to the artists’ work.


As i had imagine before visiting Maputo, I felt I would be drawn to this city and its people and I was. It has now become my favourite city in Africa out of the 15odd countries I have visited. The Portuguese left a little jewel which is in need of restoration after years of independence struggle and civil war. The city is well planned (that is the central city) and even some of the townships (not sure what they call them in Mozambique but where the majority African population lives) are more planned than many areas in Lagos. They have delicious food, nice music, beautiful and very warm people and the longest and most magnificent coast line in Africa. The art scene is small but growing considerably and some strong artists especially in photography for which they have a long and vibrant tradition. They have some good infrastructures and cultural centres which provide substantial opportunities for the artists. In fact Maputo would be a fantastic place for a bi/triennal to take place to give Dak’Art a run for its money not to mention providing the much needed interaction and exchange on a global level locally. Food for thought!!


The exhibition is only a beginning of our interest in interacting with Mozambique. On my 3-4 visits in the past 15months I am always fascinated by the huge villas apparently abandoned by the fleeing Portuguese. Many are derelict and I have been trying to find out who owns them now and if they have been reappropriated by the state. It seems not totally and some owners are coming back. Funnily I was just reading in a new Gulbenkian foundation newsletter Future Now – that there are more Portuguese migrating to Mozambique now than there are Mozambicans to Portugal. Interesting but not surprising as we all know despite the constant negative report from the western media, Africa remains a goldmine essential to their survival. It always has been and always will be. But not enough Africans seem to realise that enough to put themselves in the driving seat. Okay I digress. As I look at the villas I think they would make a wonderful art or/and curatorial residence space and already one of my co-curators is looking into the possibility. I also welcome more possibilities to continue my dialogue with artists and cultural workers in Maputo. I encourage more people to put it on their map. Could Maputo be the Berlin of Africa?

I need to keep my updates short - if possible otherwise i will never catch up. Next up Jo’burg Art Fair.

Le Source du Lion in Casablanca presents Lisieres et debordement

Wednesday, 10 June 2009

US based Nigerian Artist Nnenna Okore present solo exhibition in Lagos

You are invited to the opening
of Nnenna Okore's solo exhibition
on June 20th at 4pm.


Of EarthBarks and Topography

Nnenna Okore

The uniquely diverse and tactile qualities of the natural world, holds such strong fascination for me. I am intrigued, by the forces of nature that interact with and shape the natural terrains which we share with other the living entities. I am captivated and transformed by the transient processes that occur over the passage of time, resulting phenomenal earthly textures and formations of visual complexities.

The sculptural pieces created for this show broadly reference structures associated with plant life and environmental relief. I am drawn to the repetitive, and yet timeless patterns of biomorphic forms. I am fascinated by their temporariness, their physical integrities, and their agelessness. I am interested in how natural processes such as decay, erosion and deformations, regenerate into more stunning forms.

My materials, which are largely biodegradable include, old newspapers, found paper, ropes, thread, yarn, fibers, burlap, dye, coffee, starch, and clay. Most of the works are constructed from handmade paper, layered with various fibrous materials and dyes. And much like impermanent attributes in nature, my paper making techniques result in fragile-looking forms that allude to the ephemerality of all life. The delicate clay pieces, though traditionally created and woven into burlap, also mimic the subtle and intricate traces of barks and topography.

The exhibition is not only intended to heighten the viewer’s awareness and perception of the alluring textures, undulating contours and organic movements that exist within our earthbound environment, but to call for more reflection on the preservation and care of our natural surroundings and the earth in general.


Nnenna Okore, Rebirth, 2009

Nnenna Okore, Bark, 2009


June 20th - 10th July 2009

Of Earth Barks and Topography

Goethe Institute,

10 Ozumba Mbadiwe

Lagos Nigeria

Monday, 11 May 2009

Chance Encounters: From Sabo to SoBO

Received from AfricanColours Newsletter

There are many Africa-India stories, but for this one, the Sakshi Gallery (maybe not a misspelling of Saatchi, but reputed to be hip anyway), in the back streets of South Bombay near the Taj Mahal Hotel, has collaborated with The Centre for Contemporary Art, located in Lagos’s Sabo. The result is Chance Encounters: Seven Contemporary Artists from Africa. Seven, like the iconic Seven Stories about Modern Art in Africa organised by London's Whitechapel Art Gallery in 1995. This time, though, it is not about seven countries, but seven artists from north, west and southern Africa: a Moroccan, Ghanaian, three Nigerians, a Gabonese and Zimbabwean. Aarti Wa Njoroge visited the show and brings you a report about her chance encounter with seven African Artists in South Bombay Click here to read

South African Embassy: A Tale of Torture and Extortion

Sent to my mailbox for widespread distribution.

The difficulties of strict immigration policies meted out by several embassies is nothing new to Nigerian travelers, especially if your passport is very green and bearing the horses-and-eagle coat of arms. But lately, the South African embassy in Lagos – situated at Molade Okoya Thomas in Victoria Island, has taken things way too far. They have not only proved beyond any reasonable measure their deliberate attempt to violate immigration laws in relation to human rights, but have even claimed it is within the jurisdiction of their rights as a representative of a nation to inflict rules which in no way fulfill the services which they promised the citizens of their host nation. Rather, their services are conditioned to degenerate Nigerians to mere savages fighting amongst each other for the sake of the ‘almighty’ South African visa.

The scenario as it stands today at the embassy surpasses all attempts to translate it into words within the confines of writing. But since even the journalists who visit the embassies actually are more caught-up with traveling to South Africa than reporting that horrible experience, we have decided to give it a try.

On a typical work day, the embassy is supposed to resume at 9am. But even before then, the crowd of applicants are already building and converging at the entrance. The door, on most occasions, never opens before 10am. At this time, the two mobile police men must have arrived – rifle in hand. They ask everyone to quietly “respect yourselves” and move further away from the door of the entrance.

As the keys to the door begin to fumble around the key hole from the inside, the pushing begins already. Everyone wants to get in at the same time. It is in this attitude that the officials of the embassy get all their excuses for their despicable modus operandi. They say Nigerians are savages, “Give them an elbow, they will snatch the whole hand!” But the truth is that this embassy has no clue as to how to manage the influx of applicants per day, which is actually a very small number compared to, say the American or British embassy. They are massively understaffed and disorganized. As a result, the frustration is mostly suffered by the applicants.

By the time the door is opened, they beckon those for refund and repatriation deposits and afterward, they begin to call in applicants by categories. Usually, they do not stick to their procedure, so there is no point counting on whatever information you see on the notice board or their websites. By the time they have taken in the first batch, it is likely that a second batch will not be feasible. Those who never made it to the first batch could actually spend all day in the hot sun waiting to no avail. The most demeaning part of it is that no information is given on the next course of action, so everyone is just waiting out of faith without actually knowing what they are waiting for or if they should even be waiting at all.

So the big question is; in what place or law is it stated that any embassy has the right to keep [besides the able-bodied], pregnant mothers, old fathers, children and the physically challenged waiting for about seven hours in the sun just to be attended to? An applicant readily expressed it in picturesque words; “I was number one on the line after the first batch, from 12 noon until 6pm!” 6pm means he and the others behind him never made it into the embassy because they close at 4pm, and at times 5pm and the only sign of closure is when you see the tinted cars of the Consular driving away. No information. You just have to come back next time. What is the relationship between giving or rejecting a visa, and subjecting numerous people to countless hours of sun drying and unnecessarily strenuous waiting? And if there is never the possibility of all applicants being attended to, why won’t everyone scramble to make that fraction that enters first? Most of them struggling to beat the entrance have already exceeded their endurance peak because they have been to the embassy three or four times without having the opportunity of just submitting their application!

The popular manner of approach from the staff is that of rudeness, from the security personnel at the entrance to the Nigerian accountants responsible for acceptance of payment. They are explicitly saucy to a fault regardless of who is involved. They don’t talk to you; they bark at you. They treat you like you have come to beg, and most times some of them go to the length of trying to explain your constitutional rights to you, telling you how the South African visa is a privilege, therefore you should comport yourself and accept whatever condition dictated by the embassy and their workers. What an ironical misfortune!

Unlike most embassies, there is only one official attending to all the submissions of the day! And that official is one of the three consuls. So by mid-day, this person’s head is already rumbling with too many applications to attend to. The so-called agents [and there many of them] make matters worse: some people submit up to 30 passports in a row, therefore the screening process is always a long and tedious one. But why should there be just one person for such a tedious task? As a result of the mental commotion, this person in charge at some point, hardly looks at the application and with little or no reflection, just awards anything that comes nearest to his reflex: “failed interview”, “pay your visa fee” or “repatriation deposit”.

Talking of repatriation deposit, this is a fee amounting to a hundred and ten thousand naira which the applicant must pay before a visa is issued, and is refundable after the expiration date of the said visa. Based on the temperament of the consular, you might just be asked to pay this money or not, it really does not depend on if you deserve to or not. This money is to make sure you don’t disappear into some South African suburb – you will definitely come back as long as your money is with them. They underestimate Nigerians, as if they have forgotten that money is only a means to an end. But no – they didn’t forget, the money is making more money for them in their bank accounts.

After having paid the visa fee which is a non-refundable N8,600 and a ‘deposit’ of N110,000, you are asked to come back the next ten [10] days for your visa. Already, a ten-day interval for the treatment of visa is quite much compared to other embassies. On the visa day, the visa is not ready. You are not told what that means, no more information – just not ready. You keep coming back and the visa you already paid for is not ready. Some people kept coming for two months, and the visa was still not ready! Their traveling dates and flight tickets have been changed countless times, yet the visa was not ready. The cases vary. Some, when they finally receive the visa, find errors such as wrong dates, misspelt names, etc. In other cases, the visas would have been stamped into the passport a long time ago, but somehow the passport was never given to the owner and he kept coming back and modifying his travel arrangements. Other people have been told “not ready” about 6 consecutive times only to finally return their documents asking for “additional documents”.

So it becomes obvious that this embassy is not in any way concerned about fulfilling the services for which they are paid, instead they cause people more expenses by giving them a date for collection of visa – which will now prompt the applicant to purchase a ticket based on this information – only to be given his visa one month afterward or not given at all. Some people get fed up with the sight of the embassy and the unfriendly inhuman attitude of their staff and decide to withdraw their passport after they must have spent time and money. It is quite painful.

it is instructive to state here that collecting money from applicants and putting them through a series of emotional and financial turmoil and yet failing to render the services for which they are financially rewarded is criminal – grossly illegal. Indeed, this is not any different from the criminal act of swindling or defrauding.

They say Nigerians can withstand anything, can scale any hurdle, but that does not award a free pass to anyone, organization or government to erect unnecessary obstacles, even those that oppose the virtues of human rights. For not all Nigerians are the kind of Nigerians they have in mind while they build their high walls of senseless restrictions. Most Nigerians are good ambassadors not only to this nation, but to the entire black race – wherever they go and whoever they encounter, but ironically, they are the surest victims to these stereotypical notions about Nigeria. For the sake of those upright Nigerians, the South African embassy should set up a just method of evaluation instead of one that depends solely on the emotional whims and mood swings of the evaluating officials.

The South African embassy in Nigeria should update their staff and equipment; they have the resources because every applicant pays a non-refundable visa fee. No one disputes their right to refuse visas to anyone at their own free will, but they should desist from subjecting Nigerian citizens to treatments not even befitting to animal beings.

UPRISING therefore considers it a matter of justice to call critical attention of the Lagos State government towards scrutinising the mode of operation of the South African High Commission in Lagos and ensure that they modify any aspect of their services which makes it impossible for them to offer equitable services – free of all forms of torture – to their Nigerian clients. Otherwise they should consider the possibility of being asked to shut down!

© UP-RISING, May, 2009
upnaija@gmail.com

http://uprisingblog.wordpress.com/


Here are some of the replies i have received.

Dear Bisi,

I cannot agree any less with this writer. He has given a graphic detail of people’s experiences at the S.A embassy. Our Press should give this story the publicity it requires. I remember us hosting South Africans who attended our Universities and schools free of charge during the Apartheid days. Here we are being treated as though we are monsters. Is it pay back time or what? This is what we get.

Warm regards

Moses

Hello Madam,
I had a similar experience last December when I went to the South African Embassy,. I did a piece on it in my column. Most journalists who have had similar experience have also written about it just that the Embassy has refused to do something about it. And we also have a Foreign Affairs Ministry that is not willing to call these people to order. It's really saddening but we shall keep witing about it till something is done.
Warm regards,
Funke