Fatimah tuggar biography of abraham
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“Youngartistsinanewnation,thatiswhatweare!”
Nigeria Imagin- ary
The artists have envisioned their artistic presentations in direkt response to the theme of Nigeria Imaginary. Working with the curator, each work takes on a different moment – from the historical past to a more recent present, to present a laboratory of ideas executed through varied mediums. The list of artists was purposefully multi-generational, cross-disciplinary, and involved artists from various parts of Nigeria to ensure the diversity of perspective is shown and to create a multi-layered experience of the Imaginary. Because of this, the works reference various aspects of Nigerian history and life from traditional Yoruba sculpture and Tubali Hausa vernacular architecture, to the paintings of Ben Enwonwu, the architectural spirituality of the Mbari House, a speculative world where the Benin Expedition of did not occur – an alternative imaginary for Benin Bronzes and the storytelling of the Benin Ex
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Nigerian Pavilion at Venice Biennale to address looting of Benin Kingdom
Further details of the Nigerian Pavilion at this year's Venice Biennale— the country's second time participating at the exhibition—have been announced.
The first work visitors to the pavilion will encounter will be a sound installation by the artist Precious Okoyomon, consisting of "a radio tower-turned-instrument", which will transmit the confessions of poets, artists and writers, according to a statement. The pavilion's curator, Aindrea Emelife, who worked with Okoyomon on the piece while in Lagos, tells The Art Newspaper that the recordings come from a “confessions booth” that members of the Nigerian arts community as well as “everyday voices” were invited to interact with. “The questions Precious asked were designed to be revealing,” Emelife says—touching upon the dreams of the participants as well as real life.
Ndidi Dike’s two-part work on the End Sars uprising takes inspira
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In “Home’s Horizons,” her show at the Davis Museum at Wellesley College, the Nigerian-born artist based in Kansas City gets into the nitty-gritty of cultural and class distinctions, especially around issues of labor. She makes canny use of technology to expose our simplistic binary shorthands, such as between Africa and America, black and white, or rich and poor. Everything, her art insists, is more complicated (Africa, after all, is a continent, and America a country) and more slippery.
Tuggar deploys collage techniques to crumble calcified expectations, juxtaposing images and objects from different places and times. She cheerily points out how dichotomies are coded with social meaning, such as the supposed opposition between high-tech and handmade.
Her photomontage “Working Woman” features a smiling African woman seated on the ground, seemingly laboring at office work — she has a rotary phone, a boxy desktop computer, and a woven windscreen in the background. The windscr