Ayo Akinwande’s Power Shows on Nigerian Politics Need a Permanent Home | By IfeOluwa Nihinlola
Ayo Akinwande | Photo credit: IfeOluwa Nihinlola In looks, Ayo Akinwande fits a certain image…
Essays
Jamestown Beyond Chale Wote – Some Things Never Change | By TsaTsu Kofi Amable
Jamestown, Accra (2018) | Photo courtesy of IfeOluwa Nihinlola It’s approaching noon, a day after…
‘Ankara’ – We Are Dressed Up In Conflict, Appropriation, Colonial Legacy | By Ayodeji Rotinwa
Yinka Shonibare, Scramble for Africa, 2003, 14 life-size fibreglass mannequins, 14 chairs, table, Dutch wax…
Confronting an Unaddressed Nigerian Reality in the Exhibition ‘Salvage Therapy’ | By Ayò Akínwándé
In an obituary on Ulli Beier who co-founded the Mbari Club in 1961 with the…
Four Women: Resisting Prejudice and Inequality | By Bukola Oyebode
If we were to live in a world without labels, would we become more tolerant…
Learning from Publishing Against the Grain | By Roli Afinotan
Sean O’ Toole, South African writer and critic, described Publishing Against the Grain as a…
‘Gbam!’ What Does It Mean to be New and Radical? | By IfeOluwa Nihinlola
The exclamation ‘Gbam!’ is often uttered by an impressed audience. Perhaps A White Space Creative…
Ayo Akinwande’s “Power Show”: A Defiant Playfulness on Power in Nigeria | By Dele Meiji
The “Power Show” – Ayo Akinwande’s solo show at Omenka Gallery takes Nigeria’s tortured relationship…
From 1965, “Man Loves What Is Sweet and Obvious” by Colette Omogbai
In art, man loves what is sweet and sentimental. He cannot understand that art is…
Highlights from the 2018 Arthouse Contemporary Affordable Auction | By Roli Afinotan
On the evening of March 3rd, new and experienced collectors filled the Kia showroom, Victoria…