The Nation Newspaper

Category: Arts & Life

  • Soyinka’s The Man Died returns home

    Soyinka’s The Man Died returns home

    After a successful two-screening outing in London, The Man Died, the feature film inspired by Wole Soyinka’s memoir of same title, has returned to the home turf; set to feature in major film and literary festivals in the country.

    On Monday, November 4, the film which parades a galaxy of sterling actors and crew led by the AMVCA Actor-of-the year, Wale Ojo, Sam Dede and Norbert Young, among others, was screened at 7pm at the African International Film Festival, AFRIFF at The Palms Shopping Mall, Lekki, Lagos.

    Exploring the theme, Indigenous to Global: Cultural Wealth to Global Prosperity, AFRIFF  began on November 3 and will end on November 9, at various locations in Lagos.

    After AFRIFF, The Man Died is billed for a special screening on November 13, at the Agip Hall, MUSON Centre, Onikan, Lagos as part of the Lagos Book & Art Festival, LABAF, which had declared its 2024 season The Soyinka Year, and dedicated its 26th edition to celebrating the eminent life and illustrious career of the renowned poet and dramatist.

    Described as the ‘biggest cultural picnic on the continent of Africa’, the one-week LABAF is exploring the theme, Breakout: Hope is a Stubborn Thing, with over 60 events staged at its traditional venue, Freedom Park, Lagos Island and virtually.

    The Man Died, (TMD) will also feature as the ‘opening film’, at the Eastern Nigeria International Film Festival, ENIFF in Enugu on November 27. Inspired by the long history Eastern Nigeria has with Nollywood and the African storytelling industry, ENIFF 2024 explores the theme,  Reimagine, focusing on how storytelling can reshape narratives and drive social impact.

    Since its first screening on July 12 in Lagos to mark the Nobel laureate’s 90th birthday (July 13), The Man Died had been abroad; July at the Africa Centre, London as part of a 9-day feast to commemorate Soyinka’s 90th birthday anniversary; it returned home on October 5 as part of the Quramo Festival of Words, QFest. It had then gone abroad, featuring in October at the ‘Streamfest’ segment of the Labone Dalogues of the New York University in Accra, Ghana. It returned to London later October to feature at the Film Africa Festival, FAF, with an educational shot at the University of East Anglia, Norwich; and at the Streamfest of the ‘Labone Dialogues’ (Oct, 11, New York University, NYU Accra).

    Read Also: At 90, I’m prepared for my death, says Soyinka

    Though yet to be formally released to the public cinema circuits or online streaming platforms, the film has been garnering volumes of critical acclaims, and in the review gaze of such top-notch global cinematic gatherings as the Berlinale in Germany, Catharge in Algeria, Jo’Burg Film Festival, SA; African Film Festival, New York, US, and FESPACO in Burkina Faso, among others. This is as it is also being reviewed by at least three major global streaming platforms, and international distribution channels.

    The various screenings, “are part of the strategic agenda to make the film register its impact in the two most important target audiences — Festival circuits and Educational institutions before it hits the commercial phase — theatre screening and online streaming,” stated the promoters, the Foundation for the Promotion of Documentary Films in Africa, FPDFA, (iREPRESENT International Documentary Film Forum, iREP).

  • Tourism summit to chart new roadmap

    Tourism summit to chart new roadmap

    • By Samiat Oyedeji

    National President, Institute for Tourism Professionals of Nigeria (ITPN) and Chairman, Inter-Ministerial Committee for NTTS 2024, Chief Abiodun Odusanwo, has said this year’s summit will prioritise implementation of vital communiques from past editions of the annual business meet, as it seeks to further deepen synergy already established between the tourism and transportation operators in the country. He noted that such implementation was expected to form the focus of the seventh edition, and, by implication, a roadmap for industry players.

    Odusanwo, who spoke recently in Abuja, added that with the implementation, the summit aimed to effectively equip industry operators with the leeway to play their respective roles in the most appropriate ways that guarantee the best economic benefits and further ensure growth and development for the country.

    Theme for the summit is Tourism, Transportation Connectivity: Accelerating The Synergy for National Economic Development, and will hold between December 3 and 4, at the Velodrome, Package ‘A’, of the M.K.O. Abiola National Stadium in Abuja.

    According to Chief Odusanwo other thematic areas of focus at the summit include encouraging massive investment in waterfront properties, resource and etiquette training, as well as; ensuring professionalism and improved customer service delivery at Nigerian airports through the eradication of unwholesome practices.

    Committee chairman also disclosed that as part of programmes lined up for the summit, the traditional Host City Walk will hold on November 30, with participants starting the race from the Old Parade Ground, Area 10, Garki Abuja.

    Read Also: Tourism, arts, culture, entertainment interwoven –Mr. Latin

    “This is intended to give participants the opportunity to build the vigour and strength that will see them through the two-day event.

    “The Summit and Expo events will come up with paper presentations, discussion sessions as well as the exhibition of products and services by delegates and participants at the Summit and Expo. In addition, B2B and G2B sessions will also feature in the two-day event that promises to be fulfilling,” Odusanwo stated.

    On the exhibition’s content, the committee chairman disclosed that it will seek to create a platform among stakeholders at both national and international levels, as well as, public and private sectors ‘to interact in a serene atmosphere with customers and investors leading to a healthy understanding of the connectivity and operational ease of cooperation between the two industries and to most importantly overcome impending challenges and hurdles of the tourism transportation inter-connectivity.’

  • Celebration of colours, movements on canvas

    Celebration of colours, movements on canvas

    One of Nigeria’s contemporary artists, Mr. Micheal Adigwe has identified the role of apprenticeship as complementary to formal education in art, which provides strong foundation for practice. He stated that apprenticeship offers a unique chance to learn from established practicing artists in a real-world studio setting.

    At a recent sneak preview of some of his current paintings in his Lagos studio, the Yaba College of Technology, Lagos trained fine artist said that building a career as an artist is a challenge he truly enjoys. He believes that there is always a potential buyer for every piece of art he creates, and he is constantly exploring different channels to promote and sell his artworks.

    One of Adigwe’s paintings in the  collection, titled Nature reflects the peaceful ambience of a rural settlement, the concept of serenity, peace, and harmony which he captures in this fascinating semi-realism painting. The lush green leaves of towering trees form a natural canopy, their green hues painting a picture of life and vitality. A row of humble huts huddles in the greenery, each one a testament to simplicity and the beauty of rustic living. These small houses, nestled among the vegetation, stand as silent witnesses to the mutual relationship between humanity and the natural world.

    Behind the huts, more vegetation blooms, a lush backdrop that further emphasizes the abundance of nature in this peaceful setting. The scene is punctuated by a small fireplace situated between the trees and the houses. The fire burns steadily, sending smoke curling gracefully into the sky, a signal of life and warmth in this serene landscape. Though no human figures are visible, the presence of the fire hints at human activity, suggesting that people live and thrive in this harmonious environment. The interplay of light and shadow adds depth and dimension to the artwork, enhancing the sense of tranquility that permeates the scene.

    This piece beautifully illustrates the deep relationship between humans and nature. It speaks to the delicate balance that exists in rural areas, where people live in harmony with their surroundings, respecting and nurturing the environment that sustains them. The absence of visible human figures emphasizes a deeper truth: that humans are but one part of the larger design of life. The burning fire symbolizes not just warmth and sustenance, but also the enduring connection between human life and the natural world.

    Read Also: Challenging preconceived notions of beauty, colours

    In this painting, viewers are reminded of the serenity that can be found in simple living, and the peaceful coexistence that is possible when humanity lives in harmony with the environment. It is an emotional reflection on the beauty of nature and the quiet, unspoken bond that ties us to the earth. Through this artwork, we are invited to pause, reflect, and appreciate the tranquility and balance that nature offers, urging us to preserve and cherish the natural world that is so vital to our existence.

    But in Flow a vibrant abstract painting, Adigwe captures a dance of colours and emotions showing vivid shades of black, yellow, blue, white, and a touch of grey. The artwork has open white spaces at the upper left side and at the lower right side, creating a sense of balance and breathability. Between these white spaces, the colours twist and turn, flowing together like a river cutting through a white landscape. The colours are bold and strong, streaming down from the upper right side to the lower left side. This heavy flow of colours resembles a powerful current, moving with energy and purpose.

    The black colour stands out the most. In the middle of this black area, threads of white, blue, and yellow weave through, adding depth and intrigue. Surrounding the black, yellow hues appear on both sides, more prominent towards the upper left and fading gently towards the lower right.

    Aesthetically, the artist uses the painting to tell a story of movement and connection, while the interplay of colours represents the dynamic flow of life, with its twists and turns, highs and lows. The heavy black area, with its threads of lighter colours, symbolizes moments of intensity and complexity, while the surrounding yellow hints at hope and warmth.

    The white spaces provide contrast and relief, much like calm moments in the midst of life’s busy flow. Together, these elements create a harmonious balance, showing how different aspects of life come together to form a beautiful, cohesive whole. This painting invites viewers to reflect on their own journey, the flow of experiences, and the connections that shape their lives. The Flow is a celebration of colour, movement, and the ever-changing nature of our paths.

  • Young writer eyes bestseller’s list

    Young writer eyes bestseller’s list

    A young female writer, Benita Okechukwu, has unveiled the cover and snippet of her new book, A Thousand Pieces, which captures the story of Bianca (The Protagonist) and her sister, Ifunanya. A Thousand Pieces, which the author says aims for the national bestseller’s list, is a tale of forgiveness and identity, and even more about the human way of dealing with challenges and gracefully overcoming them.

    The book leaves the reader with inspiration and courage to face challenges while having a sense of victory. It’s truly a masterpiece and a must have for young girls and boys in Africa.

    Read Also: Nigerian writers ready for creative economy

    Speaking on the inspiration to write such a compelling book, Benita Okechukwu said it’s borne out of personal experiences, adding that her faith also played a major role. “Hopefully, A Thousand Pieces will get into the hands of millions of young and old people across Nigeria and the world, leaving them with the inspiration and courage I felt while writing the book,” she noted.

  • NCAC solicits support of Nigeria’s big 50 companies

    NCAC solicits support of Nigeria’s big 50 companies

    The Director-General, National Council for Arts and Culture, Mr. Obi Asika has solicited support of big 50 companies in the country ahead of the forthcoming International Arts and Crafts Expo.

    He said the Expo which will bring attention to Nigeria will run simultaneously with National Festival of Arts and Culture, NAFEST from November 18th to 30th.

    Asika spoke at the pre-INAC Dinner, an esteemed annual event hosted by the National Council for Arts and Culture (NCAC). at Abuja’s Vue Novare Mall, attracted no fewer than 28 countries  diplomats and representatives.  The dinner serves as a precursor to the upcoming International Arts and Crafts (INAC) Expo.

    The Director-General said: “we don’t have a lot of budget, we don’t really have sponsors, because the sponsors have not been aware of these platforms, but I can tell you that we’ve taken it to all the sponsors, all the major big 50 companies, the big 100 companies in Nigeria have received information on this event.

    “I’m not sure that many of them are coming on board this year, but I think what we are going to do this year is establish a benchmark that allows everybody to embrace NAFEST and INAC in 2025.”

    Read Also: We’re rebranding NAFEST, says NCAC boss Obi Asika

    He stated that the 17th edition of INAC 2024 will feature the biggest craft market with diverse crafts, cuisines, fashion and cultural display that will provide opportunity for networking, effective promotion and marketing for would-be sponsors.

    Asika also provided a glimpse into the upcoming National Festival of Arts and Culture (NAFEST), holding between November 22nd and 30th in the Federal Capital Territory (FCT). With plans for enhanced international visibility, Asika said that the event would bring attention to Abuja’s cultural richness and drive economic growth. Themed Connected Culture, NAFEST 2024 will feature an array of new programs designed to engage the global audience, including comedy shows, cultural troupe performances, sing-offs, book fairs, swag shows, danbe, dance competitions, and the famed Jollof Wars cooking competition.”

    Continuing, he said: “NAFEST is like a cultural Olympics that enables us to celebrate each other, compete in a friendly environment, over cultural expressions such as dance, food, music, fashion, and indigenous instruments, indigenous games, like Dambe wrestling and indigenous wrestling. So, we have a lot of things coming.

    “There’s no energy that can stop us accepting ourselves, if we are negative. So, we’re trying to bring positive energy to everything we do, and invite people who want to collaborate, who want to support, who want to participate, reach out to the National Council. We’re open for business.

    “I’m putting that at the highest level, because what I always say is this, the cultural expression of Nigerians is the IPs, intellectual property. There is no higher output that a country can put out.

    “And for a country like Nigeria, which is home to a brilliant untold story, it is time for the government to intentionally back storytellers. And that’s what we are doing at the council. That’s what the minister’s mandate is.

    “We’re backing the storytellers. We’re backing the creators. We’re backing the creators. We don’t want to replace them. Government cannot become the storyteller, but government can back the storyteller. Create the funnel, create the leverage, create the opportunity and support with funding.

    “For the storytellers to share the mythology, the fables, the origin stories of our people. First of all, we need to educate ourselves. A lot of us do not understand each other’s culture.

    “You have to understand these things, to understand what the real meaning is. And then from there, I think we’ll do much better. Because once we’ve moved collectively, nobody can stop Nigerians”.

    “If we Nigerians say we’re moving in this way, who’s going to stop us? There’s nobody. The only people that have been stopping us is us. So, we’re trying to get out of the way, get all of us who are negative out of the way, and let’s move.”

  • With Vessels, Artsplit launches 202 Gallery

    With Vessels, Artsplit launches 202 Gallery

    One of the leading African art trading platforms, Artsplit, opened its doors to the public with the launch of 202 Gallery in Ikoyi, Lagos recently. The occasion also marked the opening of its debut exhibition Vessel, featuring 37 paintings, drawings, and sculptures by eight emerging artists from Nigeria and Ghana. The group exhibition explores themes of identity, spirituality, culture, and the human experience, showcasing fresh perspectives.

    202 Gallery is a private art gallery and advisory service dedicated to promoting modern and contemporary African art to a global audience. It offers rotating thematic exhibitions and dynamic programming throughout the year, featuring the finest contemporary artists from Africa. Its advisory services help corporate and private clients build, document, and manage art collections while offering expert advice on art investment and appraisals. The gallery’s vision is to provide better access and value for emerging, underrepresented, and master African artists.

    Among the exhibiting artists are Adeniyi Adewole, Gedepresunpre Agorsor, Igbobinna Eze, Israel Fatola, Yewande Ambeke, James Adebayo, Joseph Oluwasegun, and Mubaraq Omotosho Yusuf, the youngest of the pack.

    Yusuf is a self-taught artist with an uncanny ability to breathe life into the canvas with his paintbrush. Growing up in Ilorin in Kwara State, he was always enamored by the world around him, observing the intricate workings of nature, the rich history of Africa, the subtleties of body language, and the unique expressions of identity.

    Read Also: US honours three legendary Nigerian artists 

    When Dust Settles (Oil on canvas), is one of Yusuf’s paintings at the ongoing exhibition. It captures human figures covered with veils in colourful bold stripes that capture the essence of man looking beyond the physical to the inner self. Relatively, the painting promotes humanity over and above racism or colour of skin.

    For Yusuf, ‘the canvas is not just a medium for storytelling. It is a vessel for portraying the inner strength of humanity, the joys of life, the hopes for the future, and the richness of culture. Through the interplay of light and shadow, colour and form, Yusuf weaves a tapestry of stories that capture the essence of the African spirit.’

    His brushstrokes are imbued with emotion and meaning, as he creates a visual language that resonates with his audience.

    He said of his paintings: “I have a keen interest in body language and its accurate rendering, as I believe that the body, the person, is a vehicle of history. When you look at my paintings, you will see that it is in people that history lives and is transmuted.”

    Adewole’s compelling fibre glass sculptures are rooted in African spirituality and cosmology. They reflect on the strength of the human spirit and the importance of community ties.

    Igbobinna Eze, Israel Fatola, and Yewande Ambeke blend figuration and abstraction to examine the complexities of human emotions, cultural identity, and the evolving nature of existence.

    Ambeke, the only female among them participants shows a series of semi abstract paintings that show a seaside leisure time of a couple. The paintings are heavily skewed towards green colour that symbolizes the fertility and strength of the relationship between the two lovers as shown in Untitled, an oil on canvas. 

    Adebayo’s work is influenced by his experience of double vision, offering a distinctive interpretation of the world. Joseph Oluwasegun fuses traditional and digital techniques to explore identity, purpose and self-acceptance themes. Meanwhile, Mubaraq Yusuf and Gedepresunpre Agorsor draw inspiration from African history and expressions of identity, celebrating the resilience and beauty of the African spirit.

    “This exhibition is not just a display of individual talent; it reflects the mission of 202 Gallery—to provide a platform for emerging and underrepresented artists while connecting them with a global audience,” said Majid Biggar, curator and gallery manager. “The opening of 202 Gallery marks a significant moment for Nigeria’s art scene, offering a dynamic space for artistic expression and cultural exchange.” The Vessels will run from October 21 to December 13.

  • ‘How I broke Guinness world record’

    ‘How I broke Guinness world record’

    It was a rare meeting of great minds in Nigeria’s creative industry. The brief interaction between the duo centered on mentorship, learning and unlearning to grow the industry.  And the setting was the Lagos studio and home of legendary master printmaker and painter, Prof Bruce Onobrakpeya, when he recently hosted multi-talented medical doctor and visual artist, Dr. Fola David. Dr. Davisrecently  broke Guinness world record with his giant artwork, titled Unity in Diversity.

    Speaking at the reception, founder Bruce Onobrakpeya Foundation (BOF), Prof Bruce Onobrakpeya tasked young Nigerian artists to learn, unlearn and relearn by creating appetite for continuous education, training, mentorship in order to make meaningful impact in the industry. He said without these, Nigeria’s artistic values will diminish and stagnate. He urged key stakeholders in the industry to always support the artists by providing the necessary resources for the promotion of cultural and economic activities.

    Dr. David’s Unity in Diversity, measures 1,150 square meters, surpassing the previous record. This monumental piece celebrates national unity and landmarks, capturing widespread acclaim and inspiration. His painting has surpassed the previous record of 629.98 square meters held by Ravi Soni from India.

     “For instance, Olympic athletes participate, win or lose, then prepare for the next games. The academy, informal education, universities, mentors, philanthropists, and government should support artists, providing necessary resources to promote cultural and economic progress. Firstly, your Guinness World Records achievement has elevated Nigeria, making us proud as an independent nation in a global village.

    “To be part of this village, one must make substantial contributions, which your recognition has done. Congratulations. I encourage you to continue, especially with your academy to nurture talents and make Nigeria contributive to world civilization.  What you’ve done brings joy; thank you. Continue, and we pray for your long life,” he said. 

    Dr. David who presented Prof Onobrakpeya with a portrait painting recalled what inspired him to paint the work, saying he had wanted to do it in 2015. 

    Read Also: UNILAG student breaks 41-year old Guinness World record

    He disclosed that his team travelled to most state capitals to have first-hand experience of their cultures, which really cemented the entire idea. 

    “I wanted to do the drawing because I wanted to challenge myself as an artist. I felt like, what else can I do with what I am able to do? And it was the world record that came up. So, for nine years, I tried to do this. The major challenge was the funding required to do it as the record is a very expensive one. Also challenging is getting venue for the long canvas and the materials. So, finally we got the chance to do it last year.

    “We got the go-ahead to do it. So we did it this year. And what inspired me on why I did the record was I wanted something that would be significant to everybody as an artist. I wanted to do something that was about the direction of impact, not just the show of prowess. Not just something that would inspire people to greatness, but something that would touch the lives and the hearts of every Nigerian. And the biggest issue we have in Nigeria is unity. Most people don’t know it but, you see the political issues, the economic issues that we have cannot be solved if we are not unified.

    “And that’s the pillar. If we don’t have that, if you solve the economic problem of Nigeria today, it will crumble because there is no backbone. And if we can all see each other as Nigerians and not, as different ethnic persons, then the development truly begins to happen. And it will happen on a very strong backbone.

    “And you see the drawing is not something that I expected was going to change the landscape of the tribalism in Nigeria immediately. But, I wanted it to serve as a marker, as an icon. The drawing is going to last forever and it’s not going to be destroyed or anything like that.

    So over the years, the message should keep coming out from that particular attempt, from that particular creation. And that’s why the drawing is tied to unity and diversity; a celebration of Nigeria’s culture,” he added.

    Continuing, Dr. David said: “To remind people that we are stronger because of our diversity and not something that should divide us. How did you translate all these ideas? Which one you uncovered? So, the first thing I did was to travel across the country. I traveled to about 16 states of Nigeria to experience our culture.

    “I wanted to know that, okay, I want to be a powerhouse of this culture before I say I am worthy of depicting them on the largest drawing in the world.”

  • Mouka Foam wins prestigious innovation awards 

    Mouka Foam wins prestigious innovation awards 

    In a remarkable display of excellence, Mouka Foam, Nigeria’s trusted name in sleep, has secured three prestigious awards, reaffirming its leadership in the nation’s competitive bedding industry.

    Following accolades for innovation and product quality, Mouka’s achievements reflect its commitment to delivering unparalleled comfort and setting industry standards. With a reputation built on trust, quality, and customer satisfaction, Mouka remains the preferred choice for numerous homes across Nigeria.

    Founded in 1959, Mouka has grown from a humble Indigenous brand with foundations laid in Kano state to an iconic brand with footprints across Africa due to its affiliation with the Dolidol International group, which has its head office in Morocco. 

    For over sixty years, the company has set the standard for quality, consistently raising the bar in durability. Mouka’s innovative approach and commitment to exceptional craftsmanship have allowed it to lead the market, winning the hearts of millions of Nigerians.

    From pioneering modern production techniques to embracing eco-friendly materials, Mouka has continuously evolved to meet the changing needs of its customers while maintaining the highest standards. Today, the brand is more than just a household name; it represents a heritage of well-being woven into the fabric of everyday life in Nigeria. 

    This unwavering commitment to customer satisfaction has set Mouka apart and solidified its place as a market leader in the bedding category.

    Mouka earned the title of Outstanding Legacy Brand during the Marketing Edge Awards, held on September 29th at Sheraton Hotel Lagos. 

    The Marketing Edge Awards celebrated Mouka because of its long-standing reputation of excellence in Nigeria, lasting impact, and innovation in the sleep industry. 

    Read Also: Access Bank wins Digital Jurist awards

    According to the organisers, Mouka has distinguished itself through superior quality and consumer trust over several decades.

    The Brandcom Award for the Most Innovative Foam Brand in Consumer Engagement, received on October 26th at the Landmark Event Centre Victoria Island Lagos, also marks a major milestone for Mouka. 

    Recognised for connecting with consumers uniquely and engagingly, this award highlights Mouka’s leadership in aligning its product offerings with consumers’ comfort needs through advanced technology and impactful branding.

    Finally, the Product Durability Quality Award from the Nigeria Independent Ball Awards, received on October 6th in Baltimore, USA, echoes Mouka’s dedication to durability. This key feature keeps customers loyal to the brand.

    “Mouka remains committed to safeguarding the well-being of Nigerians. The brand has continuously evolved and innovated to bring exceptional quality, comfort, and well-being to our consumers. We are immensely proud of these awards, which reflect our dedication to excellence and our determination to stay at the forefront of advocating healthy sleep for our nation, Nigeria,” said Mouka’s CCO, Dimeji Osingunwa.

    Mouka Foam’s award-winning streak can be attributed to its relentless focus on quality and innovation. From orthopaedic to luxury mattresses, Mouka has developed a range of products that cater to diverse consumer needs. Irrespective of your body build, age, lifestyle, and budget, a Mouka is specially made for you. 

    The brand conducts extensive research and utilises state-of-the-art technology to ensure that each mattress is crafted with the utmost care for the ultimate sleep experience.

    Mouka has solidified its position as a market leader, reshaping Nigeria’s sleep industry. The company’s expansive network of over 3000 branded outlets across Nigeria ensures that Mouka’s products are readily available to millions of consumers. 

    Mouka’s influence extends beyond business, as it supports community engagement and CSR initiatives that stimulate local economies and contribute to national development.

    “Mouka is a brand built on trust, and these awards honour our legacy of quality and our commitment to pushing the boundaries of comfort,” said the MD, Femi Fapohunda. 

    “We are excited about the future and are committed to birthing more innovations to better the wellbeing of Nigerians.”

    He continued, “In the years ahead, Mouka aims to expand our product offerings, enhance technological capabilities, and contribute to the growth of Nigeria’s economy. We are thankful for the continued support from our customers and partners who have played a pivotal part in this journey.”

    As Mouka celebrates these well-deserved accolades, the brand remains committed to its core values of quality, innovation, and customer satisfaction. With a promise to keep elevating the sleep experience for Nigerians, Mouka invites everyone to discover the award-winning comfort that has made it a trusted household name for generations.

  • CloseUp teams up with Laju Iren Films for ‘Danfo and the Rose’

    CloseUp teams up with Laju Iren Films for ‘Danfo and the Rose’

    CloseUp has teamed up with Laju Iren Films for the much-anticipated release of Danfo and the Rose.

    Speaking on the collaboration, Oiza Gyang, Africa Marketing Lead for CloseUp, emphasized the brand’s commitment to fostering authentic connections: “At CloseUp, we are dedicated to fostering genuine connections and empowering people to express love confidently with long-lasting fresh breath.

    This partnership brings us closer to our goal of helping everyone embrace authentic, intimate moments without the worry of bad breath, giving people the confidence to connect with others. We believe this collaboration is a meaningful step toward achieving that vision.”

    Laju Iren, founder of Laju Iren Films, shared her excitement about the upcoming releases, revealing that Danfo and the Rose will join two other films in a first-ever virtual cinema experience this Christmas.

    Iren said: “We are releasing three of our best movies in one virtual cinema this Christmas. This is a first for us in more ways than one; it is the first time Danfo and The Rose, our young adult film, will be released to our expectant audience.

    “We cannot wait for the world to see the magic put together by our crew and our star-studded cast, featuring Adunni Ade, Sam Dede, Sunshine Rosman, Michael Dappa, Seun Ajayi, Akah Nnani as well as Adebowale ‘Debo’ Adedayo, aka Mr. Macaroni,” Iren stated.

    Iren also highlighted the innovation behind their virtual cinema platform, aimed at reshaping Nollywood’s distribution landscape. “We cannot continue to wait for permission to tell our stories… The virtual cinema platform is one of such, as it enables us to reach the consumer directly,” she said, underscoring her belief in the future of accessible, independent Nollywood distribution.

  • Bloom Art holds Uniting Forms exhibition

    Bloom Art holds Uniting Forms exhibition

    On Saturday, October 26, 2024, Bloom Art hosted “Uniting Forms,” a captivating group exhibition at its Victoria Island art salon, drawing art enthusiasts and collectors alike. Curated by the acclaimed Ugoma Ebilah, this exhibition celebrated the power and diversity of contemporary Nigerian sculpture, showcasing works by eight prominent artists who delve into themes of society, environment, and the female form.

    Through this exhibition, Bloom Art once again demonstrated its commitment to fostering social and cultural development, cementing its place in Nigeria’s art scene with innovative programming. The event featured powerful pieces by Boma Joe-Jim, Adeyinka Akingbade, Angela Isiuwe, Dare Adenuga, Olumide Onadipe, Peter Adelaja, Richardson Ovbiebo, and Uchay Joel Chima—each with a distinct voice yet contributing to a cohesive exploration of form and identity.

    Boma Joe-Jim’s body of work offers recognizable female torsos in wood, capturing elegance, beauty, delicateness and fluidity at different moments. A seasoned sculptor mentored by the legendary Bisi Fakeye, Joe-Jim had brought his over 25 years’ experience in practice at the Universal Art Studio, Lagos, to bear on his latest pieces, contriving such gait that patronizes our sense of today’s perfect model.
     
    Adeyinka Akingbade, a painter, photographer and graphic designer has projected seemingly mono-chromatic, pale images of human forms in juxtaposition, from an otherwise two-dimensional surface in his mixed-media, paper-heavy body of work titled “Testimonial”. These works which manifest as contoured 3D-like folds possess extended meanings beyond their physical look, and offer suggestions on the artist’s interest in (improvised) materiality as a meaningful composite in minimalism.
     
    Angela Isiuwe, the only female in the collective here, is arguably one of Nigeria’s finest contemporary artists, and her over 27 years of practice ranks her amongst the top artists who have continually defined the depth of contemporary visual language in Africa, while carving out a place of pride for female artists in what appears a male-dominated field, especially in Africa.
     
    A product of the Auchi Art School, Angela is a painter and multimedia artist famous for her minimalist, but striking abstract figures. She is represented in this collection by several of her delicate metal sculptures; a relatively less-circulated aspect of her rich artistic repertoire. These works draw themes from the socio-cultural and economic disposition of the woman in society, and very typical of Angela, properly place the female gender just as they are, without casting them in a partisan frame of feminism.
     
    In this new experiment in sculpture, Angela organically engages such contemporary discourse of uniting artistic impulse with media and style effectively. Thus, we see her fascinating figures conveying feminine elegance, charm, sophistication within random moments of contemplation, melancholy, and cheer, all in the unparalleled spontaneity of simple metal lines.
     
    Dare Adenuga’s avant-garde mixed-media fashions female forms and images with twines on the surface of his colorful canvas to weave embroidered imageries and metaphors analogous to human dispositions. “Do I say yes, Do I say no” and “Maidens’ Roomy Talks”, are a few examples of moments of pertinent contemplations and conversations amongst women.

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    Adenuga further takes on a serious subject in his Self-Appreciation series in terracotta which depicts nude plump women in delightful postures of beauty. Here, the artist  lends his voice to the contemporary discourse of what constitutes beauty against the backdrop of prevalent body-shaming of overweight people in society with its wider psychological implications.  
     
    While Adenuga’s style and material may have taken a shift from the traditional canvas and paints according to the dictates of his Yaba School training, his treatment of the human subjects nevertheless betrays his inclination towards realism.
     
    Peter Adelaja is a dancer and sculptor from the Ife School, who during his experiments at the annual Harmattan Workshop organized by iconic artist, Bruce Onobrakpeya, has used the stone medium, among other materials, to translate his ideas about interconnectivity, dynamic energies and the underlying idea that the space humans occupy isn’t limited by geography, but permeates into the metaphysical, psychological and sublime environments.
     
    Peter’s love for deliberate dynamic movements and his experiences as a dancer and martial artist are expressed in the most visceral and tangible way in his grotesque, twisted abstract stone works.
     
    Uchay Joel Chima’s educational background at the Institute of Management Technology Art School equips him to constantly create alternative means of expression. His thematic concerns are largely based on environmental and social issues in Nigeria and beyond, including climate change and global warming, as he attempts to proffer solutions. His art incorporates a wide range of materials including charcoal, sand, strings, wax, disused sacks and paint to create thought-provoking works such as “Glowing Shadow” which features in this show.
     
    Richardson Ovbiebo, a sculptor and installation artist from the Yaba School, explores the role individuals play as mirrors of their environment; their actions and inactions, and general disposition.
     
    In Oviebo’s works, some disused industrial objects, or utilities are often repurposed to emphasize the relevance of many things we consider wastes. His works in this exhibition features wheels, metal lanterns, motor plugs and metal sheets, used to fabricate human busts to depict his subject.
     
    Olumide Onadipe is a multidisciplinary visual artist whose idiosyncratic sculptures are built using diverse media including plastics. The artist stimulates conversations on  socio-political issues through his works often applied as visual metaphors, with a propensity to arouse public social consciousness. Olumide studied arts and education at the University of Nigeria Nsukka and the University of Lagos.
     
    It was a true delight to witness the blending of these artists and their varied sculptural expressions in the exhibition “Uniting Forms” presented at Bloom Art and curated by Ugoma Ebilah.