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Tag: art

  • Women’s art group gets a CEO

    Women’s art group gets a CEO

    A nonprofit Organisation of women visual artists, sisterART Global Visual Art Foundation, has appointed academic and visual artist, Mrs. Sophia Jovita Ejameh as its chief executive officer.

    While describing her as “a passionate visual artist and a charismatic leader, the chairman/ founder, Otunba Nkang Ini Dan stated that the appointment by the globally-focused women’s group, known popularly also as sisterART, was inspired by the Mrs. Ejameh’s achievements and its 7th year anniversary.

    Mrs. Ejameh, who is currently the first woman chairperson of Society of Nigerian Artists (SNA) Edo State Chapter, is a lecturer at the Federal Polytechnic, Auchi.

    Dan said: “As a buildup to her 7th year anniversary which on June 18, the need to restructure and strategically position sisterART in line with its core values, mission and objectives, focusing on its key performance indicators (KPIs) became inevitable. The date is also my birthday “As a professional and passionate visual artist, a charismatic leader, a teacher of very high repute, as well as a seasoned administrator with decades of multifaceted experiences, I am very optimistic of the fact that she will provide the quality leadership needed to move this sisterART to very great heights, hence the appointment of Mrs. Ejameh as the Chief Executive Officer of sisterART.”

    Speaking on the appointment, Mrs Ejameh, said: “sisterART, which is a subsidiary of Brotherart Productions, stands as a testament to the power, creativity, and resilience of women in the visual arts, The appointment is indeed an honour as well as another opportunity for us women artist to show the world what we are capable of.”

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    Founded in 2018, this dynamic organisation emerged from the legacy of Brotherart Productions’ “ARTru Concept and Awards” which started in 2015. “Its core mission as a NGO”, according to Dan, “is to unite, celebrate, promote, and project the incredible talent of women in the creative industry, both locally and across the globe. It also serves as a platform for networking, education, as well as providing bountiful opportunities for social, economic and cultural exchanges.”

    Mrs. EJAMEH is a Senior Lecturer in the Department of General Art and Industrial Design. She joined the Polytechnic since 2005 and from the same institution; she bagged her ND in General Art and HND in Textile in 1998 and 2003 respectively. She later got a PGDE in 2012 from National Teachers. In 2021, Sophia bagged her MFA Textile from the University of Benin, Benin City where she’s currently running a Ph.D programme in Textile Arts. She is happily married with children.

  • ‘My art aids personal, spiritual growth’

    ‘My art aids personal, spiritual growth’

    US-based Nigerian sculptor Femi Olajire Akande has said his hybrid artworks, which are rendered in ceramic engender moral, spiritual upliftment and growth of the viewer. This he said also showcases the beauty, social and cultural values of the narratives in the Holy Bible and African folklores. 

    “The beauty in these works lie not necessarily in aesthetic value, but their capacity to increase one’s knowledge and curiosity towards religion and African values,” he said, adding  that ‘African culture and philosophy play major influence in my life as an artist. I desire my artworks to breathe life changing effects into the souls of my audience.’

    One of his works that depicts the spiritual theme is entitled I Offer You My Life, which was inspired by Donald James Moen, an American Singer, pianist and songwriter of Christian Worship Music. The referenced song track, “Lord I Offer You My Life,” is re-imaged in 3 dimensional forms, on a big vessel, glazed, stoneware ceramic- sculpture. It’s divided into three segments. The first segment is the sculptural female figure on top of the vessel, sacrificing her heart to God.

    “The second segment is the stone altar, which symbolises readiness and preparedness for God while the third segment depicts the result of sacrificing one’s heart/life to God, a life filled with beautiful colors. Some lyrics of the song were aesthetically and literarily adapted on the surface of the vessel. God does not need our money, gifts or earthly possession but a pure and sacred heart of worship and love for our fellow man.

    “If we do that, He will take care of all our needs, wishes and dreams that are yet to come true. In the Bible, Cain, Abel, Abraham and Solomon among others offered sacrifices to God and the Lord saw their hearts of giving before their offerings were accepted or rejected.”

    Akande said there were many Christian-oriented schools in America shaping the lives of seekers of truth like him. The artist, who infuses his art with religious and social commentaries, explained how his religious orientation with some Christian institutions in America spurred his series on Peace Building.

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    “My engagement with Houston Christian University, (HCU) Houston, Texas institution in America has significantly influenced my peace building thematic research.  HCU is a peaceful university that seeks to develop students of character and competence by providing opportunities to engage in a Christ-centered community focusing on academic success, spiritual formation, interpersonal development and physical well-being. 

    “The university’s mission is to provide a learning experience that instills in students a passion for academic, spiritual, and professional excellence as result of our central confession, “Jesus Christ is Lord”.  While the university’s core conviction and values are –poised and ready to meet the academic and spiritual needs of the next generation of world-class learners, I received a lot of inspirations and significance influence in Professor Louis Markos, HUM 5381 Special Top: The Bible in Art course. 

    “He thought; -the Christian worldview on peace, the call to be a peace maker in a world of conflict (Matthew 5:23-24, 2 Corinthians 5:18-20), the importance of living in harmony with others (Romans 12:16, 1 Corinthians 1:10), importance of personal relationship with God, love, forgiveness and obedience to His will, as the path to true and lasting peace, among many other visual illustrations and practical art projects. 

    “Christian teachings provide a moral and ethical foundation for promoting peace, justice, and human dignity.  These education and training opportunities equipped me with skills, knowledge and spurred the peace building thematic research in my art.”

  • How art auction can impact value

    How art auction can impact value

    In March, an artwork by a Nigerian artist Olaolu Akeredolu-Ale, also known as Olaolu Slawn, titled The Three Yoruba Brothers, was sold at one of the biggest auction houses in the UK, Sotheby’s Contemporary auction for £31,750 (N56million). The price was over 350 percent increase from the estimate, according to report. The artwork shows three hideous-looking monkeys with big lips named Alara, Ajero and Orangun. Until that auction, Akeredolu-Ale might not have recorded such earning from a single sale.

    Equally, at the home front, there are a handful of auction houses that have influenced the market values of contemporary Nigerian art and artists over the years. Artworks such as Anyanwu and Negritude by Ben Enwonwu made record sales of N59,800,000 and N46,000,000 respectively at ArtHouse Contemporary Limited’s auction in 2018. 

    What is the relationship between sales at auctions and the market value of art and the artist? Speaking with The Nation on Gallery Talk, a Lagos based contemporary Nigerian artist, Mr. Michael Adigwe believed that strong auction results can influence future sales and contribute to an artist’s overall market value. He said that though auction can be quite competitive, he believes it offers valuable platform for artists to showcase their works and potentially reach a whole new level in their careers.

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    “Art auctions are interesting aspects of the art world. They create a unique space for established and emerging artists to gain signif-icant exposure. A successful auction sale can generate a lot of buzz and media attention, which can lead to gallery representation and opportunities to connect with a wider range of collectors. Beyond exposure, auctions can also establish benchmarks for an artist’s work. Strong auction results can influence future sales and contribute to an artist’s overall market value,” Adigwe said.

    The Yaba College of Technology, Lagos trained fine artist is not shy of taking on any challenge as a studio artist. He said that build-ing a career as an artist is a challenge he truly enjoys. He believes that there is always a potential buyer for every piece he creates, and he is constantly exploring different channels to promote and sell his works. “It’s a hustle, but a rewarding one,” he added.

    Adigwe who had his internship with the late Prof Abayomi Barber of the University of Lagos, whose style and unwavering profes-sionalism continue to inspire him deeply, described studio apprenticeship as an incredibly valuable tool for developing artistic skills. He said while formal education provides strong foundation, apprenticeship offers a unique chance to learn from an estab-lished practicing artist in a real-world studio setting. “This hands-on experience can be highly transformative. It allows you to gain valuable mentorship, exposure to professional practices, and potentially refine your artistic style. In my own experience, the manda-tory apprenticeship after my Ordinary National Diploma (OND) programme was under a seasoned artist, which proved to be a piv-otal point in my artistic journey,” he recalled.

    On who shaped his artistic journey, he said: “I have been fortunate to draw inspiration from several talented individuals, but I would like to highlight the influence of two prominent artists: Abiodun Olaku and Gregg Kreutz. Mr. Olaku’s work, a true embodi-ment of impressionism, has greatly impacted my artistic development. His mastery of soft brushstrokes, mid-tone palettes, and sub-tle details continues to inspire me. Similarly, Gregg Kreutz’s expertise in impressionism resonates deeply with my artistic vision. His masterful use of light and shadow is a constant source of inspiration.”

    Adigwe who held his first solo exhibition titled Nature in 2010, finds acrylics incredibly versatile, allowing for both delicate wash-es and expressive, textured applications thanks to their fast-drying time. But, oil paints hold a special place in his practice due to their rich colour and smooth blending capabilities.

    According to him, building a career as an artist is a challenge he truly enjoys as he believes there is a potential buyer for every piece he creates. “So I’m constantly exploring different channels to promote and sell my works. It’s a hustle, but a rewarding one,” he added.

  • Art economy talk, workshop, competitionto boost AMIAF’s Sculptor’s Odyssey

    Art economy talk, workshop, competitionto boost AMIAF’s Sculptor’s Odyssey

    Themed Sculptor’s Odyssey, the 2024 edition of Art Miabo International Art Festival (AMIAF) 2024, which holds from April 29-May 1, 2024, at EbobyLife Place, Victoria Island Lagos, boasts of many sub-events aimed at enriching the creative economy.

    Founder of AMIAF, Miabo Enyadike unveiled the programmes of the 2024 edition, which takes off on the opening day with Special Interactive Session on ‘Art Economy’.

    “We are pleased to gather at this year’s Artmiabo International Art festival AMIAF 2024 to discuss the Art Economy as it relates to the Nigerian Art Ecosystem,” Enyadike stated. “With an unusual twist to the discussion, the Panel is diverse in age, experience and profession.”

    She assured that each one of the panelists is bringing something fresh and unique to the discussion regardless of experience.

    The list of exhibiting artists include Pius Waritimi, Kunle Adeyemi, Adeola Balogun, Ato Arinze, Dotun Popoola, Adeniyi Adewole, Aromire Wahab, Fidelis Eze Odogwu, , Shola Kukoyi, Muraina Akeem, Adebisi Adebayo, Djakou Kassi Nathalie, Ibrahim Afegbua, Nkwocha Ernest, Luke Osaro, Adisa Juliet Nzekwe, Obinna Adiele and Ebriel Afegbua. Other exhibiting artists include Nelson Edewor, Ayooluwa Akinrinola, Oladapo Afolayan, Tolulope Sobowale, Simon Chidiebere, Fatai Abdulkareem, Exodus Aluyia, Adebor Etsekhumhe, Abdulqadir Ojelade, Ugherebe Godwin, Hakim Dipeolu, Ojegoke Pelumi, Azeez Kausarat, Samuel Akintiitan, Blessing Proven and Ifeoluwa Odushe.

    Interestingly, AMIAF 2024 is also giving posthumous award to Ben Enwonwu, a 20th century Nigerian sculptor. The Sculptor Odyssey’ Award will also be given to Waritimi, Balogun, Popoola and Adebayo.

     Among the panelists for the Art Economy session is Emeka Enyadike who will be discussing the strategy for the best media fit for art growth globally for the Nigerian artists. Experienced in management and marketing, in the Oil industry both downstream and upstream, Emeka is currently a Sports Executive Media Strategist, International Football Pundit and Sports Digital technocrat.

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    One of Africa’s leading art collector, Omooba Adedoyin Yemisi Shyllon, is also on the panel to discuss the importance of Nigerian Art and Artists in the global economy. Other discussants include Mathew Oyedele, Art Historian, artist, curator and art critic, who will elevate the discussion with his experience on how the Nigerian economy directly affects the sustainability of Art development in Nigeria and beyond; and sculptor Dotun Popoola, who presents a Pitch Deck on the 4 Ps of Marketing as relates to Fine Art and artists presentation on how to attract the right global audience.

    Popoola will add a presentation of slides that is meant to have a mind shift and a broader view of what is lacking and what is possible in today’s art environment. He will discuss the role of ‘Packaging, Price, Presentation and Place’ in elevating artists. The Art Economy” talk will be moderated by art and media consultant, Tajudeen Sowole.

     After the main exhibition opens on Day-1, other sessions of AMIAF include Morning Workshops (Skills) “Sculptors Den” an active wood sculpting workshop by Waritimi and Adebayo; Interactive Sessions with festival goers by the media crew,  including Hope Board, Photo Sessions and Life Art; and Family Art Competitions, holding on the last day of the festival.

     To be curated by Yusuf Durodola, AMIAF 2024 derives its theme from a celebration of the sculptor’s spirit—a testament to the transformative power of raw materials shaped by the artist’s hands, carving stories into stone, wood, metal, and imagination, Enyadike stated. She explained that the Sculptor Odyssey’ theme  represents a voyage that transcends the physical and delves into the metaphysical, inviting artists and enthusiasts alike to traverse the rich tapestry of sculptural expression.

     Speaking on the sessions, Enyadike said the gatherings will explore the idea of sculptors embarking on a creative journey, pushing boundaries and exploring new artistic territories, incorporating environmental or ecological aspects. She assured that “Sculptors will explore the relationship between art and nature, creating pieces that reflect environmental concerns, sustainability, or the impact of human journeys on the planet.”

    Enyadike who is also an artist and gallerist disclosed that the exhibiting artists, mostly will engage with non-representational idea that loft the Odyssey focus of the festival. “The theme lends itself to interactivity and engagement with abstract interpretations, allowing sculptors to explore non-representational forms and concepts related to odyssey, journey, or exploration.

    Ultimately, the inspiration behind “Sculptors Odyssey” is diverse and open to interpretation, providing artists with a rich and imaginative framework to explore and express their creativity.”

    Curator, Durodola assured that the artists seek to engage audiences and encourage personal interpretation of the three-dimensional art forms being exhibited. 

    “AMIAF stands as a distinctive platform adeptly navigating the diverse realm of art and its creators, committed to breaking down barriers that hinder visibility,” he stated in a curatorial note. “The festival proudly acknowledges the pivotal contributions of industry trailblazers, celebrating their indispensable role in shaping the artistic landscape.”

    Enyadike announced that AMIAF 2024 VVIP Night holds, featuring DJ Raybee, Afrobeat artist, Mádé Kuti and Port Harcourt-based musician, Jikume Bethlehem. She expressed gratitude to AMIAF’s partners, Multichoice Nigeria, Ebonylife Place, JCDecaux, WakaEvents, July 1st Studios, among others for always supporting the festival.

    AMIAF had its debut edition themed ‘Remake the World’, which showed 24 artists from Africa and Europe, with gallery representation from France and South Africa. At the second edition, last year, AMIAF converged visual arts and music, with specific focus on Afrobeats, by escalating the global influence of the genre.

  • An art fair that shook Lagos

    An art fair that shook Lagos

    Edozie Udeze writes on the +234 Arts Fair that lasted for ten days in Lagos. It was a show that was not only novel but modern and instructive in all aspects of the visual. Everybody that was involved felt that it was a big show.

    The art fair was big and all-encompassing. It involved all genre of the visual arts. Participants came from all over the world. The idea was to bring to the fore these ideas of the creative economy. Indeed the artists who participated came with their best and for ten days the arena was agog with activities. Artists were happy to be involved in the big show, the show everybody termed show of all shows. And so, all the sponsors from different strata of the economy were excited that the art fair was a huge success.

    It lasted for 10 days. The city of Lagos and Nigeria as a whole, was held spellbound with the debut of a novel but enchanting addition to the yearly arts calendar, the +234 Arts Fair. It is an event which promoted the best of the best in Nigerian contemporary art scene.

    The first of its kind, dedicated to everything arts and creativity, it kicked off on March 22 and ended on Sunday, March 31 and was held on the purpose-built 3,800-square-metre Ecobank Pan-African Centre in Victoria Island, Lagos. The fair brought together over two hundred artists and thousands of art lovers under one roof, where almost a thousand art works were on exquisite display, over the course of 10 days.

    Working with the theme, Nigeria: A New Heritage, the fair offered every artistic experience available; from paintings to sculpted works to photography, handcrafted materials and objects, a children’s art section, art related activities like sip and paint and so on. Working with six curators, Eyimofe Ideh (fine art curation); Tracian Meikle (programmes); Ugochukwu Emebiriodo (Photography) and Arinola Olowoporoku, (lead curator who also doubled as lead for the sculpture exhibits), they brought the vision of the fair to life.

       Boasting not just beautiful artworks alone, the fair also had a series of art-related workshops, masterclasses and panel discussions, featuring the best minds in the art and creative scene. With a vibrant mix of emerging artists drawn from all over the country, art lovers and attendees were not left disappointed with the quality and quantity of works on display. In fact, many were eager for more and wished the fair would be extended.

       Curated by Soto Gallery, in partnership with Ecobank Nigeria, Leadway Insurance and the African Finance Corporation (AFC), the fair was put together to showcase and nurture young talents as well as create new vistas of opportunities for them.

        Founder, Soto Gallery and founder of the +234 Art Fair, Tola Akerele, said the opportunity to showcase more artists is always a welcome one and the partnership with Ecobank made this possible. Speaking on continuity for the artists, she said they are in talks with them on what more galleries can do to make this possible, including residency programmes and grants.

       “Apart from just showcasing art, this was an opportunity to help them know what else they can do locally, regionally and internationally. A lot of artists we have worked with in the past now have strong international careers and this gives us joy.”

       Speaking at the opening ceremony, Project Director of the fair, Toyin Laoshe, said the artists were selected fairly from across Nigeria. “They were then pruned to about 200 artists from different sectors, fine art, sculpture, photography and digital art. We want to see these artists become the future guiding lights of the art world, locally and internationally. We thank our sponsors, who helped in bringing this together together and helped bring this vision to life.”

      Saturday, March 23, saw keynote speaker, Florence Lynch, taking a filled audience on ‘The art of collecting’. Lynch is a New York-based art dealer and a senior director at Marc Straus gallery and professor at Columbia University. Other speakers included Alain Ngann a photographer artist; Kelechi Amadi-Obi; Oluwatoyin Sogbesan; Jess Castellote, the Director of the Yemisi Shyllon Museum of Art and many more.

       The masterclasses took on relevant and practical subject matters such as, African Art in the Global Art Market, The Business of Photography, Bridging Time: Connecting Heritage and Modernity in Nigerian Art, How to Navigate the International Art Scene as a Local Artist, Artistic Research, Grant Writing, Navigating Biennales and Museums in Contemporary Art and so on.

       Lead curator of the fair, Arinola Olowoporoku, said the whole event was for emerging ideas, about and for Nigerian artists and Nigerians; “and even for tenured artists trying out new ideas or narratives, everyone was welcome. There were multiple offerings for different demographics, including a children’s gallery, life painting, interactive works, live performances and authors. There was something for everyone,” she stressed.

        She added that the reward for many artists was the fact that the fair held on a huge scale and exhibiting on such a platform could grow their career significantly. “As a collective, exhibiting here increases the economic value of their works and our market, as well as create visibility and awareness for the artists.”

       On how the artists were selected, the lead curator said there was an open call and selections were made. “I worked with six curators and we picked them with our theme in mind. The fair’s founder, Tola Akerele, is a brilliant and fantastic woman and she keeps taking bold leaps. This has been a humbling and learning process for us and we are thankful to all our sponsors, especially Ecobank, who deemed the arts worthy of such a massive investment.”

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        On longevity for the artists, Olowoporoku said Soto Gallery has over time, consistently developed and supported artists and the fair provided a window into the big world that would be built upon.

        Ephraim Damilola “ED” Adegoke, an exhibiting artist who said his art is figurative expressionism, said the art form allows him put together many forms of art and express himself in different ways. “I am happy with the turnout and how the works were arranged, people positively and actively engaged with the artworks; it is clear the essence of the fair was realised,” he said.

        Ugo Ahiakwo, a sculptor that exhibited at the fair, described his art as post-minimal and said his inspiration comes from everyday living and seemingly mundane things.     “Beyond making sales, it was wonderful to connect with other sculptors. When people think of art in Nigeria, they only think of painting. Sculptors are often overlooked and this fair provided the opportunity to meet more sculptors and expose our works to collectors,” he said.

         Olowoporoku said beyond this fair, they intend to expose the artists to more exhibitions. “We are hoping to have more editions like this in the future as well as other new showcases to accommodate more emerging artists,” she said.

        Akerele also added that with the fair, they are also trying to create an ecosystem where patrons can support an artist through the course of their career. “The government can support us by creating more fairs across the country for artists all over the country. This is a much-needed platform for artists. There are so many artists that have no access to international markets and we want to create a sort of database of artists, whose work can stand in international galleries.”

       She said they intend to do bigger things in the coming years and expose more of Nigeria’s creativity to the world.

  • The Art of Nigerianness

    The Art of Nigerianness

    It’s instructive how blushes of the real world become real only when projected on TV or a cinema screen. Fantasy validates reality. Whatever the thrust of artwork, be it a culture in decay, a nation in decline, or civilisation taking its final gasps, imagination powers life in the fictional universe.

    A dead, forgotten race may attain rebirth on the pages of literary fiction, on stage or in a film reel. The scripted cosmos has its uses after all. Real life could be scary, often ill-fated and grim. Life is certainly not a feel-good flick with a PG rating, yet movies labour to document reality in acceptable montage – memorable scenes showing us that it is always possible for anyone to endure the ghastliest circumstances and yet survive.

    Art may be deployed to resuscitate a comatose culture or highlight broad, existentialist questions – staples of a deeply grounded, socially conscious didactic process. Through art, we may also challenge the superficial and deepest assumptions of Nigeria’s beleaguered economy and political culture.

    Art may be consciously deployed to save floundering sovereignty simply by stirring positive emotionality or reawakening patriotic fervour in the citizenry.

    En route to the February polls, Nigeria flailed to impassioned hope and jarring cynicism of political actors. Politics stewed to a scalding broth as rival parties, posing as patriots, split private terraces and public courts in vulgar gladiatorship. They did it for the culture.

    Indeed, patriotism thrives on cultural standards. The politics that Nigerians espouse, the lore of nationhood, and the lyricism of partisan poetry manifest the kernel of our sovereignty.

    A similar dynamic undergirds our politico-literary traditions. Politics thrives on literary culture and vice versa. What shouldn’t we do for an evergreen story? What shouldn’t we give? Evergreen storylines make up the fabric of our collective narrative; when progressively spun, they are endlessly fascinating, yielding fresh insights through the imagination of the writer or filmmaker, who milks history and recalibrates reality to espouse a positive national lyric.

    What is the Nigerian lyric? What is our reality? In search of the proverbial elixir, we have drunk water from an unnamed stream and filled our bellies with toxins. The superiority of Western democracy is one of the supreme constructions of imperialism and the poisonous elixir of Nigeria and her neighbours on the African continent.

    Nigerians elevate it with obsessive love. It is the magic pill to the nation’s ceaseless headaches. Demagogues exploit its hackneyed tropes in a torrid caress of the vanities and base sentimentality of the gullible masses. Politicians chant its praise. Social commentators extol its virtues in their ever-resonant “In saner clime” chanted across media platforms.

    But the West must never be blamed for our collective ignorance – particularly the United States. The latter’s democratic enterprise is one of the most profitable constructions in its bid to “make America great again,” at any cost.

    It is both music and philosophy, a sensory stream of thought feeding generations of writers, political activists, filmmakers, politicians, gender rights activists, academia, and so on.

    Hollywood, democracy and foreign aid do for America, for instance, what painting and sculpture did for the Italians. They are potent tools for wooing and recolonising the world. A few good minds with an intuitive grasp of the hard-edged imperialist designs of the Western agenda are spuriously labelled as conspiracy theorists.

    Those who would die embracing colonist doctrines must understand that there is no way this could be achieved without horror, given the marked differences in culture, temperament, and histories defining different nations of the world.

    It’s about time we identified values complementary to our precepts of humane governance. We cannot dwell like the Americans or Brits in Nigeria. We can only assimilate aspects of their culture that complement ours.

    It’s scarier to note that our arts and literature have weakened in our bid to entrench American and European Renaissance in our cultural frames. More worrisome is our artists’ rabid deconstruction of Nigerianness.

    Writers and filmmakers, to date, struggle to acculturate the Nigerian landscape with defective foreign mores. Thus they corrupt their presentations and stifle the possibility of attaining homegrown, practicable solutions to oft-politicised conflict. Nonetheless, they have a dedicated industry of cheerleaders and courtiers who romanticise their follies as the valiance sorely needed to reinvigorate Nigeria’s creative sector.

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    Themes glorifying repulsive gender wars, mindless youth rebellion, and the orchestration of social hierarchies are aggressively projected and patronised to the detriment of rational, progressive, and didactic art. This hurts us immeasurably.

    While creative industries in America, Britain, China, India, Korea, Malaysia, Russia, and France, to mention a few, commit genii and capital resources to constantly recreate and embellish their political narratives, with progressive outcomes, the Nigerian creative sector obsessively weaponises and projects vulgar themes of citizenship and romance.

    The projection of toxic consciousness has become a thing among local artists. We see it sprout across genres: drama, prose, poetry, and beyond. It seizes mainstream and indie filmmaking, corrupting Nollywood inside out, as you read.

    Otherwise brilliant and perceptive filmmakers denounce patriotism and attack Nigeria. They corrupt our artistic vocabulary, twisting it into a meditation on society’s debauched nature. Ultimately, they celebrate degeneracy via aggressive cues of prurient art, promiscuity, gendered storms, and virulent sexuality.

    While the consequences of such dross manifest in real-time, Nigeria welcomes from abroad, more insolent corruption of its media space through degenerate reality shows like the BBN without putting up a fight. The damage to the cultural psyche is incalculable.

    The United States has always appreciated the depth and promise of the arts and entertainment sector. Thus the US government and Hollywood’s symbiotic relationship. Washington DC provides intriguing plots for filmmakers and the latter reciprocates by glamourising the political class and reinventing America’s exploits on the global stage.

    Between 1911 and 2017, over 800 feature films received support from the US Government’s Department of Defence (DoD). These included blockbuster franchises such as Iron Man, Transformers, and The Terminator – mostly infantile reels.

    The entertainment partnerships and offerings are often deployed to foster a positive image for the United States on the international stage while offering its citizens ample channels to exorcise their post-9/11 demons.

    In 2022, Nigeria’s Nollywood made 1,923 movies, according to the National Film and Video Censors Board (NFVCB), thus making it the second most prolific movie industry after Bollywood and before Hollywood; yet Hollywood made $7.37 billion, while Bollywood made $1.28 billion vis-à-vis Nollywood’s $203 million revenue in the same year.

    Films and literature could be used to foster national healing and patriotism. And they may also be used to destroy a people and ruin nations in pursuit of global good or the “enlightened self-interest” of a dubious superpower.

    With very few exceptions, like Tunde Kelani, Kunle Afolayan, Femi Adebayo, Nollywood churns out too many rabidly wrought revenge-fantasies in which the Nigerian female perpetually scores retribution over her treacherous male; lest we forget the increasingly base novel and TV plots by which Nigerian audiences are lured to nurse demonic sexuality, ethnic intolerance, religious bigotry, misandry, and sexist rage.

    It’s about time the government partnered with the arts sector to reinvent the Nigerian story while channelling humane governance and patriotism. This is not a call for government censorship of progressive art. Rather it’s a call for institutionalised support via public-spirited funding and ideological partnership.

    It’s about time we refined the subtleties that make the Nigerian dream the fantasy of thieves, slatterns, and blinkered murderers.

  • Dare and Deola Art-Alade: Nigeria’s biggest entertainment power couple

    Dare and Deola Art-Alade: Nigeria’s biggest entertainment power couple

    It is without doubt that Dare Art Alade and Deola Art Alade have secured their place as Nigeria’s latest entertainment power couple.

    The singer and show host, 41, and producer cum design expert, 39, have seen their star power and net worth skyrocket, thanks to their unlikely championing of one of Nigeria’s  360 creative agencies, Livespot360 group.

    Deola found fame in the hugely popular interior design industry, while husband cum partner Darey’s launch into international limelight began with his excellent performance as a contestant on Project Fame Africa in 2004, making him one of Nigeria’s leading RnB stars. The power couple have gone ahead to make a success of their individual career as a trained music graduate of the University of Lagos and a trained Graphics expert from the Obafemi Awolowo University, Ile Ife.

    But it is their off-screen ventures that have attracted increasing attention. And in 2023, they come top as the biggest entertainment power couple in Nigeria.

    Both witty, charming and talented, the couple have managed to create an empire, from their canny investments and individual successes.

    The pair also count many of showbiz’s most famous faces as their closest friends, helping to elevate their image.

    The Nation takes a look at the soaring success of the power couple and how they managed to ascend to the big leagues.

    Family Life

    Darey and Deola tied the knot on February 17, 2007. The lovely couple have two children – Femi, 16, and Tinuke Alade, 11 – and the couple are clearly determined to raise their family far from the glitz, glamour and buzz of the Nigerian entertainment and showbiz world.

    “I mind my business there are just too many things to do. The distractions are everywhere and over the years I have been actively involved in growing our business, music career and raising my family,” Darey said in a 2018 interview.

    In the same interview, Deola explained that the family understands that Darey is in the spotlight and the family remains behind him rather than dragging the glamour of stardom with him. “He, Darey, is the star so we allow him to be the star and we are behind him and that’s fine. I am a private public person and this is why you don’t get to see me everywhere. Some people are all over the place, but I am not. I only show up where I need to and when I am not at work, I go back to my house and I am okay.”

    On what has kept the marriage strong in the last 17 years, Darey said their friendship and keeping it all within the family has made their bond stronger.

    “Friendship. And not pushing our business out there. I’m the king, she is the queen. In as much as we push each other, we encourage each other, we support each other, and she is one of the most brilliant minds that I’ve ever met, and I’ve met a lot of people in my lifetime, but nobody like her.

    “She really is one of a kind, especially when it comes to seeing things that you don’t see. Sometimes, you need that eagle eye, you need someone who can see as far, wide as even you can’t possibly see, and once you have someone like that, it balances things out. Where she is weak, I am strong, where I am weak, she is strong; we complement each other like that and I think it is what we carry everywhere, especially in the work environment. Normally, couples do not work together, especially in this country. Cultural barriers maybe, and so many other reasons why that doesn’t happen. As luck would have it, it has never been an issue for us,” he said in a 2018 interview.

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    Darey and Deola have been close for over two decades, often being seen going on holidays together. Despite their age difference, the couple have remained steadfast and committed to their union and family.

    Star-Studded Friendship Circle

    The couple spend most of their time between their home, situated on highbrow Victoria Island, and their offices – Livespot360 group situated on Remi Fani-Kayode Ave, Ikeja GRA, Lagos and the luxurious Livespot Entertainment Centre known as Livespot Entertarium, situated on Oba Elegushi Beach Rd, Lekki Phase I, Lekki.

    The Art-Alade couple are very well connected, counting many fellow celebrities as close pals. The creation of their Livespot360 group has given the couple an edge over many entertainment couples while raking in tens of millions and positioning the Nigerian and African entertainment industry to bite from Africa’s US$62.67m entertainment industry.

    Every Nigerian entertainer wants to be in the good books of the Art-Alades because they control an unimaginable share of the Nigerian entertainment industry.

    The couple are also tight with fellow celebrity power couple including Banky W and Adesuwa Etomi, Olu and Joke Silva.

    Unknown to many, one of the recurring faces in the Art Alade family is Ayeni Adekunle, a Nigerian entrepreneur, writer, and published author. He is known for founding Black House Media Group, ID Africa, Plaqad amidst other media platforms. Ayeni is close to the family and handles the couple’s media influence. The couple have been with Ayeni since the inception of their marriage till date.

    Business Venture and Success

    As a team, Darey and Deola have gone to make a success out of their Livespot360 group.

    After kicking off, Livespot360 group has been able to turn consumers into fans and advocates by merging entertainment and marketing. The company has put together some of Nigeria’s most remarkable experiential and digital marketing campaigns and concerts in recent times.

    Between 2014 and 2016, Livespot360 was responsible for Darey Art Alade’s ‘Love Like a Movie,’ which saw in attendance some of the world’s top celebrities – Kim Kardashian, Kelly Rowland, and Ciara. ‘Love Like a Movie’ has been voted one of Nigeria’s best music concerts of all time.

    In December 2017, Livespot handled production, experiential marketing and digital engagement of Falz’s debut concert tagged The Falz Experience which was later described by Nigerians as “The Best Music Concert of 2017”.

    Other laudable projects include the Livespot X Festival, Entertainment Week Lagos, Born in Africa Festival (BAFEST), The Voice Nigeria Season 3, Disney’s Black Panther: Wakanda Forever Africa Premiere, Amazon Studios’ Last One Laughing,   Real Housewives of Lagos, Netflix Blood Sisters Premiere, Fenty Beauty Africa launch, among many others.

    Livespot360 has gone beyond the borders of entertainment to work with leading brands such as Airtel for its ‘Data Life’, ‘Smart Connect’ and ‘By Your Side’ campaign, GTB’s Fashion Weekend, United Bank of Africa (UBA), Heineken, World Economic Forum, First Bank and so many more providing integrated marketing solutions.

    In a recent  interview, Deola hinted that the establishment of the creative collective is to alter the world around her with creativity and true to her words, Livespot360 is doing just that.

    Though the couple’s net worth is unknown, it is believed that it runs into hundreds of millions of Naira.

    Given the couple – who have two young children – were previously estimated to be wealthy from their individual careers as a singer and interior design expert, the creation of their Livespot360 group has doubled their fortune over the years.

    Even when many didn’t quite expect their Livespot360 to grow to become a billion-Naira outfit, entrepreneurial Deola has an impressive track record of putting Darey’s fame and stardom to commercial use. Little wonder they created a record with Darey Art Alade’s ‘Love Like a Movie’ that has been voted one of Nigeria’s best music concerts of all time.

    So while Darey drives the company’s creative vision, Deola is the design expert who oversees Livespot’s activities and makes strategic decisions that have helped the couple grow the outfit.

    Since proving their expertise with the integrated Communications and marketing firm, the couple have gone ahead to produce some of the best content for streaming platform, Showmax.

    Showmax’s leading franchises, Real Housewives of Lagos and Real Housewives of Abuja are two of the Art Alade couple’s biggest achievements on television.

    The success of the two shows have further increased the social and economic capital of the couple and further placed them a notch higher than their peers.

  • Interrogating human experiences for environment sake

    Interrogating human experiences for environment sake

    The last quarter of the year has been quite eventful for the Nigerian arts and artists.  The Lagos art community in particular is leading other cities in the celebration of the rich artistic works of arts ranging from theatre performances to visual art exhibitions, film show, concert, festivals and lots more.

    One of such artists who had very busy schedules is a multidisciplinary and multilingual artist Stacey Ejiroghene Okparavero also referred to as Stacey Ravvero.

    Currently, she is participating in two exhibitions; a joint titled Truly Nomadic at Nomadic Art Gallery, Lagos and a solo  at the Goethe-Institut, Lagos entitled Une r’Ekpè which translates from Urhobo to (Song of the soil).  It will run till December 9.

    Her collection of works iterates across diverse media including painting, metal sculpture, poetry and performance art.

    She imagines her artistic practice to be fluid and evolving, driven by her desire for experimentation, freedom and self mastery. She explores and merges the boundaries between visual disciplines, which allows her the freedom to constantly test the possibilities of materiality.

    Stacey’s multifaceted practice currently interrogates the human experience, while focusing on socio-political and environmental issues. She also explores varied materials such as repurposed metal, acrylic, pastel and ink as well as ephemeral material, such as soil, air and water, which is evident in her performance installations/happenings. Through her works, she creates safe spaces for collective healing and growth, using performance art as a driver, to explore the mind-body connections in relation to the environment.

    Her works have been shown across Berlin, Lagos, London, Chambéry, Tennessee, Dakar, Accra, Nairobi and New York. Some notable exhibitions she has featured in include; Unravelling the Underdevelopment Complex, Savvy Contemporary, Berlin Germany, 2022, Èkako r’Évu (Plant Womb), Zentrum Für Kunst und Urbanistik, Berlin Germany, 2022, Gallery of Small things Dakar Biennial Off, Senegal, 2018, Art Expo New York, 2019.

    The durational performance titled “She seeks the face of God” lasted several minutes of spinning non stop, which was a sacred immersive experience.

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    The details on the skirt draws attention to the biblical references of our relationship to nature, how we should care for it, drawing from parables inspired by nature.

    Interestingly at one of her outings, the audience one by one joined in the performance and ended in a circle reminding us we are connected and part of the earth.

    The immersive installations, artworks and workshops all create a multifaceted experience which advocates better environmental practices and awareness.

    Her works include what have we done? Sacred stands, the nest, an immersive multi-sensory art installation.

    Stacey is also a mindfulness coach and creative entrepreneur who is passionate about curating a holistic and robust sensory experience in art and lifestyle, while promoting cultural identity.

    She is a holder of BA Visual Art, from the University of Lagos, an M.A. History and Business of the Contemporary Art Market

    from the University of Warwick and P. G Diploma Institut d’Études Supérieur des Arts Paris

    Her multifaceted practice currently investigates the human experience, while focusing on socio-political and environmental issues. 

    On the sources of her inspiration, she said:  “I enjoy basking in mundane experiences and moving mindfully through life. I absorb the socio-cultural climate I’m immersed in and enjoy how it manifests in my work. I’m particularly drawn to advocacy, so my artistic practice advocates environmental and socio-cultural issues.”

  • Dare Art Alade calls for collaboration as BridgeAfric berths

    Dare Art Alade calls for collaboration as BridgeAfric berths

    Nigerian multi-platinum Afro R&B singer, songwriter and record producer, Dare Art Alade has called for collaboration among African creatives as a new Pan-African platform, BridgeAfric launched in Lagos, Nigeria.

     Stressing the need for collaboration at the launch, Darey said, “We must collaborate with the corporate organisations.  Our artists are vibrant, they are kind of open. But most artists don’t understand how to make money back. They just want to enjoy themselves and perform on the biggest stages.”

     In his submission, AFRIMA’s executive president Mike Dada advised music and creative industry stakeholders to come together in order to consolidate the successes so far. He emphasised the importance of collaboration among different players in the industry, including artists, producers, distributors, and policymakers.

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     The BridgeAfric President, Victoria Nkong, also informed that an European launch is scheduled for January 31, 2024, in Paris, France.

     Speaking on the new platform, Nkong, who is also one of AFRIMA’s associate producers, described BridgeAfric’s birth as a revolutionary initiative that would bring stakeholders together to share ideas and build networks that can drive the development of Africa’s creative industry.

     She said BridgeAfric is here to support African talents and market, promote, and distribute African music in territories where a majority of music consumers have and previously haven’t interacted with African music resulting in African artists drawing in countless new fans every day.

     The new platform was launched amidst fun and fanfare at the Alliance Francaise, Ikoyi, Lagos with music professionals, top-tier corporate executives, African artistes, music and entertainment stakeholders, celebrities, corporate executives, and local and international media across the African continent in attendance.

     Also in attendance were Ayo Animashaun, PMAN President, Pretty Okafor, Kenny Ogungbe, Akinloye Oladapo, Emeka Onwumere, Adaora Alumina Mbelu, Karishma, Harrisong, Olisa Adibua, among others.

  • US-based Nigerian writer makes case for art funding

    US-based Nigerian writer makes case for art funding

    A US-based author, Cash Onadele has appealed to the Lagos State government to  fund  the arts sector.

    Onadele, popularly known  as Aye Kooto made this call during a two-day workshop at the Lagos Book and Art Festival 2023.

    Inside Kongi’s Harvest, he had a great mentorship session with undergraduates of the University of Lagos and on the second day, pupils drawn from select public primary schools enjoyed a great time with the prolific author with 109 titles.

       Onadele has been described as a philosopher, playwright and poet “Cash Onadele”. He blends original rain forest echoes of Yoruba indigenous heritage and cultural influences in his works.  Onadele has built the world’s largest library of individual poetry work produced by any single author.

    At the 25th edition of LABAF, Onadele engaged the youths on the value of literature while unveiling an endowment for literature prize in Yoruba and English languages.

    “I have done that in my alma mater which is Loyola College. Yesterday,November 13 I spent the entire day with undergraduates from the University of Lagos, Department of Creative Arts. I coached them on the art of writing short stories and novellas. I think it is right to give back,” he revealed.

    Onadele added that one of his plays, Yellow Tulips, published in 2020 is set to be produced by the leadership of CORA. For him, it is gratifying to be accepted at home despite being away from the Nigerian shores.

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    “I am discussing the possibility of weekend masterclasses in Nigeria in the new year,” he continued. “We need to harmonise the relationship with the university that is interested in a university that has a master’s programme in creative art and also vetting the curriculum as well as additional faculty. There will be a business element. I could teach the technical part while others can teach how you market your books in Nigeria. I won’t be a specialist in that. But initially, we can start with the technical part.”

    Onadele considered it imperative to rekindle interest in theatre by demanding for more playwritings and providing incentives to writers as well as theatre producers and directors.

    “I hope that those of us that are writing should write more plays to give directors more materials to choose from. It is important for the state governments to show some interest in this area and show some incentives whether through sponsorships or grants. Theatre is capital intensive. Many actors are being drawn away to the screen.

    Without the theatre, there won’t be Hollywood or Nollywood. We need to continue to weave a different narrative. We need to contribute to it. I will make sure that by next year, I add one more play to my repertoire,” he promised.