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  • Transit Art Foundation opens artists’ residency in Lagos

    Transit Art Foundation opens artists’ residency in Lagos

    It is called Protest Art Studios, located at Egbeda, Lagos. But just recently, the owner of the studio Bobnosa Uwagboe, decided to add an Artists Residency programme to the studios. Now named Transit Art Foundation, put in place in collaboration with partners in Poland, the Artists Residency programme took off with one artist called Paulina Gift Osague Osagiede. Edozie Udeze paid a visit to the studio where Gift spoke about the thrills and frills of the residency programme and more.

    It is no longer routinely for Nigerian fine artists to always travel out of the country to engage in artists residencies. As time goes on, more Nigerian artists are finding it sensible and wise to establish artists’ residencies here in Nigeria. The latest of such bold, brave and audacious artists is Bobnosa Uwagboe who is known as a protest artist. Now his studio at Egbeda, Lagos, has been turned into an artists’ residency. At the moment, there is one artist already in residency. Her name is Paulina Osague Osagiede whose studio name is Gift.

    Gift is billed for a two months residency where she is expected to produce a number of works to justify her stay. It is a moment of isolation and privacy to enable her pay maximum attention to details, to have enough time to study her style and go into a new technique and experiment. As at now, Gift is bent on doing collage, where she employs fabrics to produce amazing pieces of arts. Seeing her at work at the Protest Art Studio is quite an experience; she juggles together pieces of clothes, fabrics, cottons in and around her. You would think this is a junkyard house or an apartment full of debris. But then when you look up closely you would see two giant works already produced out of the numerous pieces of fabrics that littered everywhere.

    It is the colour combinations that would first arouse you, arresting you and holding your attention as well as inviting you into the inner recesses of the collage. “Yes, my name is Paulina Osagiede Osague and my artist name is Gift Osague. I am a collage artist. I make use of fabrics and other medium to produce works. So I am here in Transit Art Foundation for my two months residency. It is all about me rediscovering myself, finding myself, my art; my rhythm in the art. It is also for me to express myself in other mediums; but most specifically it is for me to build myself and make my art blossom more. So that is the whole essence of this foundation, this residency by Transit Art Foundation.

    “First of all, I met Bobnosa at an exhibition in Ikeja some time ago. So from there, he asked questions and then researched into my works and then came to the conclusion that I am qualified for the residency.  This was after series of encounters on Instagram and others. When he knew my location which is also within Egbeda where the studio is located it became easier for him to sign me on. Even then, I had always wanted to meet with Bobnosa over art matters. This was as far back as 2019 when I was still in school at Auchi Polytechnic, Edo State.

    “Part of what we did at school was to make researches of some artists and Bobnosa’s model of works truly inspired me. So meeting him was good for me. It was a good experience mostly when it has to do with opportunity to engage in this residency. The place is quiet, cool and exclusive for an artist to concentrate to work better”. When she met Bobnosa, he was about to start off this residency with the name Transit Art Foundation. Although it is here in his studios, the headquarters of the foundation is in Poland. “So he offered me a space to come and work there if the space in my own place is not conducive enough. The residency provides me with this space as you can see and other minor conveniences. It offers me working tools and other materials that make my work easy. You know some of these tools are hard to come by.  So being here, having such tools to work with and all that is quite helpful.  They help me to concentrate to work and produce more works without undue distractions”.

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    As she stays in the space she finds it comfortable for artistic productions. “I have provisions for internet also”, she says smiling. “Oh, yeah, it is also for me to maintain the studio. It is for me also to improve the studio and keep it alive. When the residency is over, the works thus produced will be exhibited here. According to the contract, the exhibition will be held here in this Protest Art Studio”.

    There is no stated number of works for her to produce. But on her own, she had chosen to make at least seven art pieces. “For me I look forward to producing seven art works. I have done two already. They are two large works of six feet in size. They are ready and completed as you can see”, she said pointing at the works. As it is usually the case about how many percentage that goes to the artist when they exhibited, Gift says, “We have not really agreed on that for now. May be later we can come to that. But for now I have not discussed or decided on the percentage”.

    Gift grew up in a home where her mother is a fashion designer. Naturally, she fell in love with fabrics, so also art pieces, designs, fashion, and décor. All these fell in place to propel her love for the art. Now it is easier for her to resort to fabrics and all manner of pieces of clothes for her collage. And her collage works appeal as the colours of those pieces of fabrics define assortments of beauties. “Oh yes, Auchi School of Art makes us love multiple colours. Our works are totally defined by assortment of colours and this is what I try to do here. In a way I inherited art from my mother. She is doing it at her own level whereas I have taken it to a higher level. In fact, my mother is surprised to see me turn all those pieces of fabrics she usually cuts and throws away into a means of art and to make money out of them as well.

    “Yes, the things around me help me to produce these works. The materials are in abundance. I mostly work at night. That’s the time when I find it most convenient to settle down to work. There are no distractions then. And you can see that this studio is calm, big enough. It is so spacious, so huge to accommodate artists. So here I work as I am being led and inspired. In other words, the Auchi’s spirit of freedom to work, that natural push to be called a colourist artist is in me as well”, she said with a broad smile on her face.

    Over the years, Bobnosa Uwagboe , also a product of Auchi Polytechnic, has taken time to establish a formidable art studio. Not only that. He has named it Protest Art Studio and beyond that however he was noble and bold enough to institute what he has come term Transit Art Foundation. His primary goal here is to help nurture, groom and encourage younger artists who need to be mentored and inspired.

    Today even as he is far away in Poland, he is still developing links to foster his dream. The dream has started this year with Gift as the first artist in residence. Bobnosa is also a product of artists’ residencies around the world. And so his notion here is in order and completely welcome.

  • Yakubu explores ghetto art at Signature

    Yakubu explores ghetto art at Signature

    It was all a glorious moment for Yakubu Kareem as he mounted his first solo exhibition in Lagos. The venue was the Signature Beyond Art Gallery, Ikoyi, Lagos, where his ten outstanding works titled ghetto impressions attracted many art lovers, patrons and enthusiasts for the period the show lasted. Yakubu in an interview with Edozie Udeze explained why his art is basically on rebellion, protest, all emphasizing the ghetto nature of most settlements in the country and more.

    Yakubu Kareem is a unique artist, no doubt. He is peculiar in many ways. With his exhibition titled ghetto impressions which took place at the Signature Beyond Art Gallery, Lagos, it was apparent that this young artist has chosen to explore his own style of works that distinguish him from the rest. While the works were on display, it was clear that Yakubu took enough time to explore all kinds of mediums-acrylics, fabrics, papers, caricature and others to display his dexterity on all rounds. What one sees are all signs of what his art schools imparted on him. From  Auchi Polytechnic in Edo State to Yaba College of Technology in Lagos where he had his Ordinary Diploma and Higher National Diploma respectively, Yakubu has indeed allowed the sentiments of these two great and renowned art schools to determine the depth and profundity of his experiments, the ideas he represents.

    “Oh yes I am from Edo State and my works are heavily influenced by the ideas I learnt at the Auchi Polytechnic in Edo State. I grew up in Lagos. And I live in Lagos. But the ghetto art aspect of where I grew up has influenced my works a great deal. My works come from the things around me; the people, the environment and all the issues involved. Of the two art schools that I attended, no doubt, Auchi has a greater pull on me and my works” he said almost beating his chest in the process. “Yes everything about my works is drawn from the background I had at Auchi- the mixed media, to the lines, to the approach, to the whole ideas of the works. Yes, I would rather say that Auchi has a greater influence on me than Yaba Tech. It was those years of foundation, those years of formative years in my education as an artist that have helped me to be”.

    In the process he had deliberately chosen to be different in all his works because in art he believes it is all about making a statement. The kind of statement you make determines the direction of your work. “I believe in delving into something entirely different”, he proffers, smiling “So I go against everything that is considered a norm. Then the idea of large canvass, some people prefer to use white and brilliant kind of canvass, but I go for the opposite. I prefer something that is dirty- black and flexible. It is easier for me. I like it loose and hanging long like window or door blinds. That way, you can easily identify with the kind of works I do”.

    Most of the mixed media he undertakes symbolize a state in confusion. The lines often go zigzag. Sometimes they run parallel from top to bottom. It is done on purpose just to distinguish his art work from the rest and to explain the ghetto nature of his experiments. In that wise, you see Yakubu’s works gripping your attention, dripping mostly with black colours in the background. You may call it foundational colours but as other colours are used or splashed on the black background the impressions and expressions become more elaborate and better defined. At some point you have acrylic on paper or what seems to you a bit mosaic. Some people may tend to view the images, some of which are abstracts as images of caricature. But beyond the splashing of the lines of colours, Yakubu takes his time to demonstrate and establish the primary message or what may be called the embodiment of the idea inside the canvass.

    He seems satisfied with this approach for the very fact that the works look quite irresistible to the eyes. “The ghetto impressions as an idea actually came after the whole exercise of defining a rebel. The whole activities of life itself, the whole process… I therefore decided to name it ghetto. We all are rebelling against one thing or the other. The whole idea therefore to justify the concept of these works emanated from this. The works have plenty of community or communal touch to them”.

    He loves to identify with the people. This is why he has refused to insulate or distance himself from the people and their art. Together the people and the art ring in his head from time to time. So this way his works are not only ghetto-textured, they symbolize rebellion and protest. Plenty of the abnormalities that trouble the system are splashed in larger than life canvasses. He decides to apply, where necessary, clothes and fabrics, or some discarded papers that have some of the elementals that hinge on community-oriented concepts. And as the works hang loosely on the wall, you see the whole problems of the society elaborated and demonstrated on each and every one of them.

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    He comes in here to explain: “I stay in the ghetto and that has greatly influenced me. No matter where else I try to live in tomorrow, that influence is already deeply imbued in me. And you can see the title of the show- ghetto impressions reflecting in all the works. That shows the nature of the works we have here. For instance in poise one, you have collage, acrylic on paper, fabrics, all mixed together. And I am that kind of person that likes to push the limit. I go far with a lot of mediums in one work. I usually challenge myself too hard on that to see how good it can come out”.

     The mediums come as different symbols mixing all these together to make his works pleasant and good to behold. It is really good to be different. “I may go about in the streets picking lots of clothes for my works. I mostly pick different colours. When I apply all these to the art piece they give the work different coloration away from the norm. There is this joy or feel you get when you discover that what you have done is quite unique”.

    And truly, Yakubu, besides being a lover of huge and intimidating canvasses, breathes multiple ideas into one work. Consequently, all you see in each work is different in more ways than one. All the ten works penciled for the show harbored in broader ways Nigeria’s myriad of problems from the ghetto level to the urban cities, cutting across class and estate in life.

    In some of the works, you see total expressive works imbued with deep impressionism, all expressive of what colours can do to distinguish his art pieces. “Yes, black is strong. Black is very, very strong. It is like limit line and it overshadows all other colours, thus making the beauty of the works more admissible”. There’s this work called ghetto corner which also embodies surrealism and realism, with the images dwelling on the depth of ghetto sentiment.

    “It takes me brief moments to visualize what to have on my canvass. Yes, it does not take me long to visualize it in my mind, deep in my mind. All I need is to feel it. Sometimes I wake up early in the morning to take a stroll around my vicinity, and then ideas begin to come inside my mind. At other times I walk until my legs get tired before going home. But then that gives me time to see my environment, see the people and then I allow those impressions to seep inside of me… We have a waste problem everywhere in Nigeria. All I see are these people in which also you see the materials they use like fabrics and so on. When you bring all these together into your work they give you some level of glow only beautiful art pieces can give. Even discarded plastics on the streets, all that give realism to the abstract. For me I come from the known to the unknown. This work here is the apprehension of my environment. It is what I feel about people around me. You may not see everything in details but the details are there all the same. People are moving around, to different places and locations yet you cannot see it in this work. It is also an abstract work. This is one of the works with less colours yet it has too many messages embedded inside of it” he said.

    All these have indeed given Yakubu Kareem a distinctive voice and signature in the visual art circle in the society. And come to think of it, this is why Signature in its professional wisdom chose to sign him on. His model of protest or rural or ghetto art is significant, the art speaks to the high and might. He comes in from the ghetto but his message is for everybody, thus making his work an El-dorado.      

  • Wrapped in tradition, framed in art

    Wrapped in tradition, framed in art

    In Nigeria’s socio-cultural landscape, Gele, the iconic head tie, does not only symbolise culture, pride and elegance, but it also occupies a significant position in the celebration of heritage among women. It is worn for special occasions.

    Its intricate folds and bold designs crown women with timeless beauty, complementing traditional attire and celebrating heritage. To many Nigerian women, Gele is not just an artistic expression, but the ultimate expression of feminism.

    Little wonder Oluwatobi Ogundunsin, a compelling voice within the world of fine art photography, is presenting a refreshing and globally relevant approach to visual storytelling on Gele.

    In his The Gele’s grace, he captures the portrait of radiating bold elegant modern African queen draped in vibrant tradition. Her emerald and crimson gele, wrapped with regal precision, crowns her like a sculpture of strength and pride.

    The reflective sunglasses, adorned with jewels and patterned with Afrocentric colours, speak of a fearless fusion between heritage and style. Her confident gaze, though hidden, commands attention, while the bold backdrop echoes her unapologetic identity.

    Adorned with golden hoops and layered necklaces, she embodies the essence of empowered womanhood unshaken, radiant, and rooted in culture. The image celebrates the harmony of tradition and contemporary expression in stunning detail.

    Like Gele’s grace, Ogundunsin presents twin portraits that celebrate the essence of beauty in its most vibrant form in Beauty wrapped in colours. Like Tiara of the Greco-Roman era, the portraits are wrapped in a cascade of rich colours and flowing textures, the subject adorned in a striking gele of emerald and crimson, emerges through soft green foliage like a vision from a dream, elegant, graceful, and unapologetically powerful.

    Her expressions shift between serene introspection and bold presence, each glance a testament to confidence and poise. The blend of fabric, skin, and nature creates a harmony that speaks of cultural pride and timeless femininity. This is beauty wrapped in colours, rooted in heritage, and glowing with quiet strength. This celebration resonates with celebrity actress Lupita Nyongo’s outfit to the Canadian premier of her film, which was a nod to the Nigerian gele phenomenon. Similarly, Beyonce also wore such artistic head tie in her Black is King music video, a confirmation of the significance of gele art, its relationship between royalty, elevated status and honour.

    The thrust of Duality of temptation and redemption is an unfolding narrative between temptation and redemption. With visual effects of darkness and light, he takes viewers on a journey into the Holy book, the contrast between redemption and temptation, which are intertwined themes. Like a moral lesson, the artist highlights redemption as being saved from sin and its consequences, often through the sacrifice of Jesus Christ.

    Temptation on the other hand is the allure to sin and stray from God’s path. In the first image, darkness cloaks a figure entwined with a serpent, clutching a red apple symbol of desire, deceit, and forbidden knowledge. His eyes are closed, as though lost in surrender or seduction, embodying the quiet pull of temptation.

    In contrast, the second image rises in divine light: the same figure, now transformed into a radiant angel, bearing both sword and apple. With wings spread wide and halo aglow, he stands in balance strength in one hand, the past in the other. These portraits speak of duality: how within every fall lies the seed of ascent, and in every heart, the struggle between shadow and salvation.

    Minds behind the talking drums captures a drummer dressed in richly patterned native attire, which embodies the rhythm and heritage of his culture. His steady gaze and confident posture reflect the depth of his artistry, while the worn surface of the drums beside him tells stories of countless performances. Behind him, a rustic window hints at the simplicity of the setting, drawing focus to the musician’s timeless presence. This portrait captures more than a moment, it honours tradition, resilience, and the heartbeat of Yoruba musical legacy.

    Ogundunsin whose work transcends geographical and cultural boundaries, founded Bigrexvisuals in 2016. His early passion for the arts laid the foundation for a photographic style that is as technically accomplished as it is narratively rich. The influence of visual pioneers such as Gordon Parks is evident in the way Bigrexvisuals handles light, form, and human expression drawing viewers into visual stories that speak universally.

    Bigrexvisuals offers a sense of intimacy and refinement. Each image is curated with attention to detail balancing elegance with depth. From conceptual portraits to expansive urban landscapes, Ogundunsin’s photographs are as much about presence as they are about perspective. The subjects often convey calm strength, subtle confidence, and layers of personality that invite closer inspection.

  • Yusuf Grillo Museum: A toast of art communities

    Yusuf Grillo Museum: A toast of art communities

    A unique edifice now graces Number 28, Ogunlowo Street, off Awolowo Way, Ikeja. It is a private art museum, which houses art works of some of Nigeria’s acclaimed modern artists, led by the legendary Prof. Yusuf Grillo who passed on two years ago. Dubbed Yusuf Grillo Museum, it officially opened recently. Evelyn Osagie writes.

    Georgina Beier (1960), Uche Okeke (1966), Dele Jegede (1972), Kolade Oshinowo (1976), Ben Osawe 2002, Kunle Adeyemi (2016), and Olu Ajayi welcomed guests into the newly-opened Yusuf Grillo Museum. The private art museum was the toast of members of the art community when it opened penultimate Saturday in Lagos.

    The place, which houses art works of some of Nigeria’s acclaimed modern artists, was unveiled to celebrate the extraordinary life and works of Nigerian legendary visual artist and art scholar Prof. Yusuf Adebayo Cameron Grillo by his children— Morayo Anthonio, Bodunrin Adeyemi, Gboyega  Grillo, Oladipo Grillo, and Akinkunmi Grillo.

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    The museum celebrates his profound impact on the art world and offers a space for dialogue and inspiration. According to the curator Odun Orimolade, it will also serve as a hub for cultural exchange and artistic dialogue in hosting a spread of activities and engagements.

    Guests saw firsthand the museum’s starting collection includes varied memorabilia of the artist’s life and works in the permanent collection for posterity. It also includes works that were collected by the artist over his life in different media. Few of these are presented at this opening exhibit installation. Every piece within these walls tells a story, not just of the artist’s hand, but of the countless hours of dedication, the relentless pursuit of perfection, and the unwavering commitment to the craft.

    “The museum aims to become a treasure trove for art enthusiasts, a resource spiral for researchers and a platform for nurturing emerging talent. The space that used to be his workshop is now transformed into Grillo Art Museum, which involves a gallery, meeting spaces, a library for research and more. The gallery space is designed to encourage upcoming artists. In the future, we’ll continue to celebrate him by ensuring the museum is used to bring the art world together,” Orimolade said.

    The art community has revisited the call for the immortalisation of the late artist who passed away two years ago. For the art stakeholders, led by Pa Timothy Adebanjo Fasuyi, his contributions to the art scene have been nothing short of revolutionary.

    For veteran artist, Kolade Oshinowo, one of the Grillo’s proteges, described Grillo as an intellectual, artist, educator and researcher of many parts, saying he played a pivotal role in reshaping the Nigerian art landscape and has left an indelible mark on the artistic sphere. He said: “My story is not complete without Grillo. I’m like an extension of the family and whatever happens, I’m still connected with the children. He doesn’t like anything celebration. He is quiet to a fault. He is a quiet achiever. We know how this place used to be so, we thank God for the transformation and we thank God for the life of Grillo.”

    While praising the efforts of Grillo’s children, he urged the management of the Grillo Art  to organise residencies, workshops, fellowship programmes etc so that the space can be busy. “One needs to learn a lesson about life from what the children of Baba Grillo has done today. I used to come here to celebrate Christian and Muslim holidays with Baba. I was moved when I came in here. It takes a lot of effort. Great people like this have contributed selflessly in bringing out the value of arts. He lived a meaningful life and even in death he is still impacting the art community. I want to enjoin Grillo’s children to look for partnership with private institutions to ensure that this place never dies.”

    Director, Lagos State Council for Art and Culture, Mr Idowu Tosin who was represented by Head of Department, Visual Art, Mr Ayoola Mudasiru, describesd  Grillo as an icon and a legend in African Art.

     “I appreciate the children for putting this innovation together, the culture and way of life of the people should be driving the economy and tourism.

    “Lagos State is ready to partner  them in any capacity to make the museum a major tourists center in the state. We will immortalise the name Grillo and are ready to partner  the family to make Grillo a legacy that never dies,” Mudasiru said.

    Dr. Adeola Balogun and his team of dedicated young associates, such as Tawa Lawal, Tolu Adefila, Lateef Hassan, Olumide Adebowale, Teni Oyefeso, Moyo Ijabiken, Tobi Braimoh, Faith Ojo, Deborah Adams, Nofisat Anifowose, Moses Taiwo, Cassandra Ahmed, Taiwo Aiyedogbon, Josiah Owezim, and Akinrinola Ahmed helped in the transformation and restoring the old facility into a tourist center.

    Every piece within these walls tells a story, not just of the artist’s hand, but of the countless hours of dedication, the relentless pursuit of perfection, and the unwavering commitment to the craft.

    Grillo’s exploration of identity, society, and the human condition invites us to peer into the depths of our own lives, to question the world around us. His innovative approach to his life, creative practice, developmental contributions, administration and educational and mentorship styles have garnered international acclaim and admiration leaving a myriad of trails in trajectories that run through Nigerian art history also reaching into the diaspora.

    The new museum archive is dedicated to collecting, preserving, documenting and researching Grillo’s life, his artistic process, and the socio-cultural environment that influenced his work and the impact of his engagements in the society in return, according to the museum’s curator. It is hoped that it will be a valuable resource for researchers, scholars, and art historians, a space that nods to the past whilst proffering avenues of shape-shifting to fulfill the dreams of an evolving developmental space.

     According to the management, the museum, which was constructed by Theo Lawson, aims to engage visitors of all ages through a myriad of interactive activities, research, and educational programs. “These initiatives will provide a deeper understanding of Grillo’s techniques, inspirations, and the cultural context that influenced his artistic choices. It also places these contexts in continuing contemporary discourse and engagement in the progressive socio-cultural evolution of Nigerian art and its place in interdisciplinary connections for National development.”

  • Juliana Edewor: I started collecting art at the age of 16

    Juliana Edewor: I started collecting art at the age of 16

    Juliana Edewor is a collector gallery owner. In this interview with Yetunde Oladeinde, she takes you into her world, things that inspire her creativity as an interior decorator and furniture maker.

    Let’s talk about your gallery.

    My gallery is a recent phenomenon. I decided actually to go into the gallery business after being a collector for so many years. I have been collecting art since the age of 16. So, I have quite a great collection. Also, I discovered, of course, if you understand the history of Apapa, with the congestion, and the gridlocks. Apapa of the ’50s, ’60s, ’70s, and ’80s became hell because of the congestion.

    Most people left Apapa and migrated or immigrated to other parts of Lagos. If not completely, some of them left Lagos and went abroad. But there was no way I would leave Apapa because this is where I have been since all those days. I had my children here and I have lived in this place since they were born with a wonderful garden. But I discovered that Apapa in the early 70s and 80s was synonymous with culture, entertainment, and life. All the other people came from the other areas of Lagos, even from Ikoyi, Victoria Island to enjoy themselves and to entertain themselves. And from nowhere, we seem to be living in these deserted areas, almost only the old people left. Apapa is full of old, retired geriatrics. 

    How would you describe the works that we have here today?

    The work is actually a combination of figurative, modern, contemporary figurative, and landscape. I was very happy and I found it most refreshing to have three non-figurative, what I would describe as landscapes by Joseph Oyelero and Grace.

    Then abstract landscape by Juliet Ezenwa Pearce, of course, you know her as a master and she has always done figuratives. So, I was rather surprised when she brought me her abstract works and I found it most exciting and refreshing. All others are modern, figurative from the contemporary world of two young artists. And I must not fail to tell you about the 75-year-old woman’s abstract work. I refer to them as abstract expressionism. She started painting at the age of 73 and this is her first show. I was most impressed, Veronica Oghene. I think she has done a fantastic job. She is starting a new career at the age of 73.

    What prompted the change?

    She retired as a civil servant and her children were all in the arts. She had wanted to do something. She had always dreamt of doing something completely different. Her mother was an artist who painted the walls of houses in the villages, Uli paintings. Of course, people did not want to be painters in those days, so they went to school and were in the Federal Public service and after she retired and I am so happy. And I am going to show some other older women painting behind closed doors, not wanting people to know or doing something creative at a later age, which I think is fascinating.

    How would you describe the response by Nigerians to artworks?

    It has improved a great deal. I would tell you that Nigerians are quite responsive at the moment. But we have to still introduce the masses; it should not be an elitist thing. Getting the masses into the arts and that is my intention especially in this neighbourhood, Apapa. I intend to bring the young ones into the gallery. I intend to set up a foundation for Art schools, for students to start studying arts right from primary to secondary school before venturing into the arts in the university or taking it seriously at all. And to have residencies for them here.

    Technology is playing a great role in every sector; do you see great improvement with technology and AI coming into the space?

    Of course, it has come in already. At the moment you have technology playing so many roles with AI to the point where we have block chain art taking place. Where you can digitally generate an artwork. It’s the rage at the moment, it’s the major thing and that is a new angle to art. One of the artists that I have at my restaurant did a digital production of non fungal that I bought online. Part of the artist’s work.

    This means it is going to bring a lot of competition?

    No! There is another angle to it. At the advent of photography, people said that the painters would take over. No! There is going to be a fusion. I think with AI, the digital world at the moment, it would make work easier for the artist because they can digitally on their own decide colours and to predetermine their compositions.

    But the digital world is being determined by humans. It is what you put in that you get. There is no way they would take over, not even AI.

    There is also the idea of functionality. Some people feel like art is more appreciated when it is functional like wearable arts, designs on fabrics. What is your take on that?

     Yes. You know arts have always played a role. Arts for art’s sake are a luxury enjoyed by some of the aristocrats, the bourgeois. Of course, it is beautiful but it has always been political and has always addressed the issues. It is beautiful to have it there but Arts for art’s sake is no longer trending. You must make a statement. Artists play a major role, they highlight us, and they let us know what is going on in society, say modern and contemporary arts. Let us say that at the moment, they are telling us about society, whether the impressionist , others and you name them. There is always a reason why they are moving from one form of style to another. A lot of them start to challenge societies, asking why is this and that happening. They tell you exactly what society is all about at that particular moment.

    In the past there weren’t a lot of women in the arts but there are many now?

    Not enough. They are still not enough. You have to go into the history of arts, not just Africa but the West. Women were not allowed to do a lot of things. A lot of women painted wax; even some had the artist’s husbands. They did it behind closed doors. They were not allowed at all. It is now that woman. We say thank God for the suffragette, women movement that took place. But today, you don’t need a pseudonym, male pseudonyms.  Most of them pretended to be males but females because it was illegal to paint. It was not what a woman of good breed  and high society should be seen as doing at the time. It is all part of history . Thank God , a lot of women are free now. Even at a stage as a male , you tell your father that you want to be a painter , artist , musician or a creative , they think that you are not serious . Like I said to my parents , if you had allowed me to do what I wanted , I would not have wasted money acquiring all these big degrees because I am quite a creative person. I am still encouraging and one of the ideas, one of the goals of this restaurant , apart from bringing culture to Apapa again, is to encourage female artists and up and coming artists. Definitely , it is not just a gallery for women , I would encourage up and coming male artists, which of course, I would sponsor. If other artists, the so-called recognized masters, would want to use the gallery , then they will participate  more and take charge of all the work involved and associated  in setting up an exhibition.

  • Why I promote women in art

    Ini Dan is a seasoned visual artist, who also loves music and stage concerts. He equally promotes women in the art as he reveals in this interview with Edozie Udeze

    What is the relationship between your profession which is the visual art and the sisterart?

    Thanks a lot for a question like this. Please permit me to first throw some light on what I do and what I am into. I do arts and entertainment.  I am a professional visual artist, and art teacher, as well as an event planner and manager.

    I am a graduate of Textile Arts and Painting from the Federal College of Education, and the University of Lagos, both in Akoka, Lagos.

    In the year 1999 I got into the Theatre Arts. Over the years, I got into doing music, production of television programs, and then event planning and management.

    I trained and worked under Mr. Tony Biyi Greenlyt of Theatre Centrik, Mr. Pius Okugbere, the producer of Royal Tears television series aka Master Story Teller, the late Chief Femi Robinson formerly of Village Headmaster, and also, Koffi Da Guru.

    All these knowledge and experiences acquired over many years of hustling got me into doing arts and entertainment. That also gave room for the establishment of Brotherart Productions an arts and entertainment company in 2007.

    #sisterART is a Global Visual Arts Family for Female Visual Artists from around the world.

    The creation of this Global Visual Arts Family could be best described with the saying that necessity is the mother of invention.

    In the year 2015, we Brotherart Productions started a live concert that brings the Visual Artists to perform and produce their artworks on stage with side attractions of performances from the musical, comic, theatre and other performing artistes. This event which was published in The Nation Newspapers on the 4th of October, 2015, was held in 2015 with a male visual artist performing on stage. In 2016 with a male visual artist, and 2017 with a female visual artist. In the year 2018, we decided to have a male and two female visual artists to perform on stage.

    In the process of putting together interested female visual artists who got our message via the social media, in June 2018, we created an online platform that will serve as a pool from where we will be selecting our female visual artists.

    More female visual artists got interested in joining this pool of female visual artists, and then it gradually metamorphosed into what we now have as the “#sisterART Global Visual Arts Family”.

    With this family, we are aimed at bringing together, celebrating, promoting, and projecting women in the creative industries. It was also created to serve as a platform for networking, education, as well as provide bountiful opportunities for social, cultural, and also economic, exchanges amongst these women. The platform also provided opportunities for us to pay special attention to these women in the creative industries, to discuss challenges they are faced with, offer possible ways of finding practical, realistic and workable solutions to these challenges, therefore giving them more voice, better representations, local and international exposures, and and most importantly, playing a very critical role in uniting the world using visual arts just as it has been done in sports.

    We will be having regular visual arts related events, and will be having collaborations with other genres of Arts, other sectors of the economy, as well as community services.

    To add to, these women are called mothers of creativity which is our slogan, and they are above a 100 at the moment from 12 different countries. These countries are Nigeria, South Africa, Ghana, Cameroon, Zambia, Kenya, Colombia, Belgium, Serbia, India, Togo, and the United States of America.

    We are still growing in strength and number.

    At the moment, we are planning the #sisterART first international arts and cultural exhibition billed for 1st to 7th of June, 2019. The theme is strength of a woman.

    With these background information, I want to believe you will agree with me that there are many very important and strong relationships between my being a Visual Artist, and the #sisterART Global Visual Arts Family.

    Have you really abandoned painting for live theatre and musical concerts and shows?

    I have not, and I will never. I have been doing a lot of pencil portraitures, with less paintings and textile works. Aside portraitures, my major focus now is creating visual arts events for children and adults with fusion of the performing arts.

    In order words, I am also an arts promoter.

    What is the level of your artistic attainment in the contemporary art scene in Nigeria?

    As mentioned earlier, I am a graduate of Arts from the Federal College of Education (Technical), Akoka, and the University of Lagos, Akoka, Lagos.

    I am the MD/CEO of Brotherart Productions, an arts, media and entertainment company, convener of the #sisterART global visual arts family for female visual artists, producer and project manager of ARTru concert and awards, ch-ART com which is child arts competition, and the #sistetART first international arts and cultural exhibition.

    I am also an executive member of the Society of Nigerian Artists (SNA) Lagos State chapter.

    In the 2010 and 2011, brotherart productions partnered with the Ben Enwonwu Foundation and Phephe Planet Productions to plan and host the “Ben Enwonwu Foundation Young Artists of the Year” (BEFYART). This was a visual arts competition for Secondary School Students in Lagos State, Nigeria.

    More of these information could be gotten on www.brotherart productions.com.ng

    Your aim is to bring women in the art together. How successful has this been and what informs the choice of venue?

    Absolutely, my aim for #sisterART is using my platform (Brotherart Productions) to bring women in the Creative Industries from around the world together as a Family of Creatives.

    On how successful I have been, it really hasn’t been easy managing such number of women 90% of whom I have never met.

    I had so many issues in the beginning, and as events unfolded, I learned how best to manage them. Thank God for His wisdom, knowledge and understanding, coupled with my many years of experience especially in managing people. Members have come to see, understand, appreciate my dreams and goals for the family, and they have been very loving, cooperative and also supportive.

    We exist not just as an online group, but as A FAMILY. There is a strong bond amongst us all.

    Today we have over a 100 members drawn from 12 different countries. I am the only male in the family, and our members includes under-graduates, graduates, studio artists, art entrepreneurs, art teachers, lecturers and senior lecturers with doctorate degrees from the different higher institutions. The age bracket is from 18 to about 65 years of age.

    We are also planning our first international arts and cultural exhibition, and we will be using that to also mark our 1st anniversary as a family.

    To a very large extent, I have been very successful in putting the house together with the support of my members.

    On the choice of venue, in the early stage of the planning of the exhibition, we made findings on a number of venues, considering the uniqueness of the concept of the event, the standard of the venue, the kind of audience the venue attracts, the long and short term effects of such venue on the event, the cost of renting the space, and also the choice of members of the family, amongst others. Fortunately for us, we have come to establish a very good relationship with the management of Terra Kulture Arts and Studios Limited after settling down for Terra Kulture as venue.

    Have you ever been involved in any solo or group exhibition in Nigeria or elsewhere?

    I have not been involved in any solo exhibition in Nigeria and outside Nigeria, but I have been involved in a number of group exhibitions. In most of these exhibitions, I have been involved in the planning and hosting process. The last few include the 2017 and 2018 Society of Nigerian Artists (SNA) Lagos State chapter annual October Rain Arts Exhibition”, and heritage social cohesion “without past, no forward” visual arts exhibition and craft fair 2017 to 2019 at the Carnegie Art Gallery in Newcastle, KZN, South Africa.

     

  • ART canvasses review of airports’security architecture

    Aviation Round Table (ART), an aviation industry think-tank, has thrown its weight behind the Federal Government’s approval of firearms for Aviation Security (AVSEC) officials.

    The ART expressed its support for the approval in a paper delivered by its spokesperson, Olumide Ohunayo.

    While noting that the move will enhance the nation’s National Civil Aviation Security Programme (NCASP), Ohunayo said the objective of AVSEC was the protection and safety of passengers, crew, ground personnel and aircraft.

    He said other responsibilities of AVSEC personnel include the protection of aviation facilities as well as saving civil aviation against act of unlawful interference in sterile areas of the airport.

    Ohunayo, however, said this responsibility is carried out with the participation of other security agencies, which are inevitable in the airport security network.

    “Consequent to this approval, we strongly advise a review of the airport security architecture to involve elements of the various security agencies, which will now form the new organogram.

    “This will eliminate inter-agency rivalry, foster cooperation, provide common platform to assess, measure effectiveness, process operational effectiveness and other action plans,” he said.

    The group added that the control of security agencies around the airport should be under the operational command of the new apparatus.

    The ART said: “The security agencies will administratively remain under their parent agencies, but under the operational command and control of the new Airport Security Architecture.

    “Furthermore, ART as a body will advise that selected men to bear arms be properly trained and tested in areas of arms handling, standard armoury and trained armourer for safe keeping of ammunitions while necessary procedure for issuance, retrieval and accountability of expended rounds if necessary be put in place

    The ART recalled that in the 90s, Nigeria delegated and rotated the heads of security agencies serving in the airports to supervise and control night operations, which was akin to the United States TSA model.

    “Security threats have evolved and we as a nation are challenged to find the nexus and best fit security architecture as our security challenges cannot be the same with other nations. Therefore, we cannot lift models hook line and sinker,” it added.

     

  • Anbukraft: promoting finer ends of art, literature

    It was Tony Akudinobi, the utilitarian art honcho, who heads Hammerhead Integrated Ltd, that brought to my attention the 5th Anambra Book and Creativity Festival (Anbukraft), which  held between October 22 and 27, at King David Hotel, Awka, Anambra State. The remarkable event of my attendance was the first meeting with Prof Krydz Ikwuemesi, the irrepressible painter, art critic, ethno-aesthetician and cultural entrepreneur who is a key brain behind Anbukraft.

    A First Class graduate in Fine and Applied Arts, Ikwuemesi stressed that Anbukraft is wholly a private initiative that enjoys no support whatsoever from the government. The 5th edition was dedicated to the art patron Dr Okey Anueyiagu and the recently deceased legendary critic Prof Ben Obumselu.

    Ikwuemesi lives in Enugu but lectures at the University of Nigeria, Nsukka (UNN). It was in 2012 that he met with other interested artists and writers to host the maiden edition of the book and creativity festival.

    The dream was to promote a cause other than politics and trading in the eastern flank of Nigeria. It was indeed a challenge, Ikwuemesi admits, given the mercantilist attitude that holds sway in the terrain. “As you know, buying and selling is the in-thing here,” he said with a wry smile.

    For Ikwuemesi and his fellow initiators, Anambra State ought to champion books and the arts and creativity in general as the homeland of such celebrated figures as Dr Nnamdi Azikiwe, Prof Chinua Achebe, Prof Obumselu, Ben Enwonwu, Chimamanda Adichie etc.

    The drive to fill the yawning gap gave birth to the festival. Ikwuemesi readily agrees that it has been quite difficult consolidating the initiative which he put together with some like-minds from the UNN and Nnamdi Azikiwe University, Awka.

    “There is the urgent need to humanize this state and the region and Nigeria at large,” Ikwuemesi submited. “Crude materialism ought not to be the only drive in life. Totalising the society entails promoting the finer ends of art and literature.”

    Ikwuemesi admits that the festival has not been well-exposed by the press even as he reveals that Anambra Broadcasting Service (ABS), Radio Nigeria and the Nigeria Television Authority (NTA) have been of some help in generating publicity.

    He counted on the Obi of Onitsha, Agbogidi Alfred Nnaemeka Achebe, for lending royal support. Now that the Camp David, Awka venue of the festival is proving to be too small there is the muting of the hosting moving to Agbogidi Museum in Onitsha where there is enough space.

    Mrs Oby Ezekwesili is another notable lending support to Anbukraft. She is as ever a bulwark for good works.

    The Anambra State Commissioner for Indigenous Artworks, Culture and Tourism and Diaspora Affairs, Mrs Sally Mbanefo had some enervating sessions at the festival. The visual thinker, poet and musician, Tony Akudinobi, who exhibited his works at the festival, presented two chairs to Mrs Sally Mbanefo.

    Ikwuemesi wanted the government to create the enabling environment that would in the end serve the festival well in its bid to draw people to Anambra State.

    The festival is not geared toward profit-making, Ikwuemesi informed. It’s indeed, a crucial forum for artists, writers, poets, sundry craftsmen and even practitioners of culinary arts to showcase their diverse talents.

    The aim of Anbukraft comes well-stated: “The festival is conceived to address issues of intellectual desertification in Anambra State and Nigeria and the lack of critical thinking and creativity that are the bane of our society. To this extent, it seeks ways of encouraging the general population to readdress itself to the art of living and holistic development through a humanising quest for knowledge and a celebration of the creative enterprise to ensure the triumph of the human spirit and the advancement our creative industries.”

    Ikwuemesi believed Anbukraft will grow in strength in the years ahead given the passion of the motivators. Anambra State for now lacks the ambience provided by organs like Alliance Francaise and the British Council in Enugu. The dream is that the state will grow in time to match the ambitions of Anbukraft.

    The background that made Anbukraft urgent and necessary deserves to be rendered in full thus: “Most developing countries, especially those in Africa, in the years following colonisation, have held on to a lopsided notion of development. In these countries, including Nigeria, development is perceived as if it is a phenomenon that exists outside society and as if it is only about science and technology. Not only that. The apocalyptic tendencies of postmodern religions in Africa, coupled with endemic underdevelopment, have also brought about nescience and cultural self-hate, the kind that breeds extremis (that is, the tendency to act in ways calculated to bring history to a forcible end). The result is the prevailing general apathy towards the quest for knowledge, creativity and excellence which pervades countries like Nigeria, in spite of the noise made by politicians about “greatness” and “development”. Little wonder the reading and publishing culture in Nigeria is in crisis when good books and a creative sensibility should hold the keys to knowledge and development. This situation is particularly obvious in much of the eastern states in Nigeria where commercialism and crude materialism seem to take a front seat, with the apparent transformation of education into a dangerous tool for a bread-and-butter existence.”

  • Art auctions and other matters

    At the moment, the visual art scene in Nigeria is agog with auction sales. In this report, Udemma Chukwuma takes a look at the trend and what it means to the sector.

    Lagos, an art destination on the continent was recently mentioned along with 12 other cities in a publication by Phaidon Press entitled “Art Cities of the future 21st Century Avant-Gardes” as one of the emerging art capitals of the world.

    This fact can be reckoned with as the rising art profile in Lagos continues to gain attention, so is the popularity of art auction fast gathering weight and the city termed the art hub of West Africa.

    In 2016 a 1990 painting by Ben Enwonwu titled Obitun Dancers ranked the most expensive piece auctioned at the rate of N52,900,000 by one of the auction houses in Lagos. Last year iconic sculpture by the same artists titled Anyanwu, done in 1962 was sold for N54,050,000. While the same sculpture was sold at Bonham’s auction in London for over N215,000,000, this year.

    With these growing figures, art auctions are becoming more interesting and more rewarding to the artists, who the auction houses have made it easy for them to put in their works during the open calls. The artists have also acknowledged that it has become a source of stable income for them. However, not every work is accepted during the call, especially the unrecognised artists.

    But what is art auction? Art auctions focus almost exclusively on high-end art and collectibles. Most often associated with the sale of famous works of art. Art auctions also witness participants openly bidding against one another, either by shouting out their bid amounts or by electronically submitting their bids. The auction concludes when none of the participants is willing to outbid the latest bid, at which time the highest bidder wins the lot.

    For over ten years, three major auction houses: Arthouse Contemporary, initiated by Kavita Chellaram in 2007, Terra Kulture and Mydrim Auction (TKMG), started in 2010 by the owners of Terra Kulture and Mydrim Gallery, Bolanle Austen-Peters and Sinmidele Adesanya, and Sogal Art Auction by Signature Beyond Gallery have contributed to the growth of art auctioned in Nigeria. It is important to mention that Arthouse Contemporary set the pace for art auction in Nigeria.  It is a pride for any Nigerian artist to get his work auction by the auction houses as it places new value on the artist’s work.

    “Art auction in Nigeria is new to the art culture. The economic situation, exposure, perception, style, age, title, material used for the work, theme and the artists, influence the bidding process and amount involved,” said Art historian, critique and lecturer at the Kwara State University, Molete, Morenike Fola Balogun.

    Some of the criteria of selection are based on the authenticity of the piece of artwork, the historical relevance of a piece and proper authentication of the work which is important.

    A full time studio artist, Lanke Adeoye, whose works have been auctioned many times said the experience is not the same for unrecognised artists as it is difficult for them to get through selection of works to be featured in the auction. He explained that Nigeria is still leading in Africa. “But we still have a long way to go.”

    Art lecturer at the University of Jos, John Oyedemi said: “The auction houses determine what is shown. But do they have the capacity to make an artist grow?. “Don’t forget to support arrangements on certain works which do happen not only in Nigeria. Many auction houses are coming up now but the competition will result to proper packaging for international collaboration which is needed right now.”

    However, Adeoye said some works are selected on favouritism rather than on merit. “The submission is thrown open to all,” but selection he asserted is a challenge. Amidst this he stated that: “The auction is encouraging and it’s getting better year by year.”

    These auction houses have been applauded for their immense efforts, but many artists said they are yet to get it right. They are of the view that the auction houses lack professionalism as no governing body is seeing to their activities.

    “Is art auction credible in Nigeria? No, I don’t think so, reason being that there are a lot of things we look at when works are selected for an auction…the bidding process, the bidding of the work and the bidders?” said one artists who didn’t want his name mentioned.

    Buttressing on this, Balogun said: “There are so many issues affecting art in Nigeria, and the benefits of art in Nigeria are not yet fully tapped into. We are yet to imbibe the auctioning process and rules of engagement in so many areas when it comes to art. We need professional art lawyers to address professional misconducts in artistic transactions. In the few cases where artworks are auctioned or sold, the artists are not aware of the actual proceeds, they are cheated.”

    She said the sector “need people with ‘Strong Character’s devoid of corruption and sharp practices, that really want to take the cause of art forward. There is the need to have registered auction outfits accepted by all the art associations in Nigeria, like the (AHAN)Art Historical Association, (FAA) Fine and Applied Art Association and a host of others working with the auctioning out fit.

    “Nigeria in Africa is rich artistically and all necessary keys should be put in place for the right type of development and messages passed across to other countries. We can only arrive at that peak if we work together as a body,” said Balogun.

    To Oyedemi art auction in Nigeria is shrouded in mystery. “Many auction houses are coming up now but the competition will result to proper packaging for international collaboration which is needed right now.”

    Artists are calling on the government to take a kin interest and get involved in the art sector rather than focus on politics and oil as this is a good way of diversifying the economy.

    “The Nigeria economy can benefit through cash flow from sales of artworks by foreign collectors. It is one industry today that is visibly attracting foreign exchange without government interference or encouragement,” said Oyedemi.

    “The government, Balogun said, “need to find a way of supporting artists in Nigeria before the government will in turn enjoy the financial benefits as a nation.”

    When asked how government can come, Adeoye said through the Ministry of Arts and Culture. “The Ministry of Arts and Culture can get involved. But I don’t think government can handle such thing (auction) successfully. They can only assist organisers financially. But more importantly, artists need more assistance especially young artists. They need government’s help financially.

    Oyedemi agreed with Adeoye on this. “It is not a government thing, it a free enterprise. Their visible involvement may provoke international political jealousy which is what China and US are doing. They could motivate participation through the National Gallery of Art. And you know this one has its own drawbacks due to Nigerian factor. We are better off to go as individuals or under sincere galleries, outfits amongst others.”

    How can the government render this help? “I think it will help if young artists are given opportunity through art competitions which can be used to discover some of them as we have a lot of fresh graduates that are good,” advised Adeoye, adding that government can also help by sponsoring art residencies, art symposia, workshops etc. where youths can feel a sense of belonging.

    While Balogun said: “Exposure and space should also be given to good young and up coming artists as a form of mentorship for participation because eventually whether we like it or not the old will give way for the new.”

     

  • Art is the way forward, experts say

    Experts have converged on The Wheatbaker Hotel, Ikoyi, Lagos to discuss the rising commercial values of art and how to explore its opportunities. The seminar titled: Art as an alternative investment, was organised by Omenka Gallery in collaboration with FROT Foundation, Chinyere Elizabeth Okoroafor reports.  

    EXPERTS have met in Lagos to discuss the rising value of Nigerian art at international auctions.

    A speaker, Oliver Enwonwu, said research had shown that art is an attractive investment for portfolio diversification, adding that it has a low correlation with other financial assets.

    Other discussants included the Director and Head of Modern & Contemporary African Art at Sotheby’s London, Hannah O’ Leary; founder, OmoobaYemisi Adedoyin Shyllon Art Foundation, Prince Yemisi Shyllon; Managing Director/Chief Executive Officer, Zenith Capital Limited, Jubril Enakele; and Director, Foundation for Contemporary & Modern Visual Arts, Mr. Jess Castellote.

    In her keynote address, O’ Leary expressed delight at the growing value of art as well as the increase in the major outlets for sale of art on the continent.

    “We are seeing more art fairs, art museums and galleries on the continent, which is a good thing,” she said.

    She described Sotheby as a commercial auction house that drives  the value of art as well as showcasing international Nigerian bestsellers, such as El Anatsui, whose work Paths to the Okro Farm sold for $1,445,000 at Sotheby’s New York; Njideka Akunyili Crosby, whose painting Bush Babies sold for $3,375,000 at Sotheby’s New York; Yinka Shonibare’s work Crash Willy, which sold for $290,149 at Sotheby’s London and a painting by the iconic artist Ben Enwonwu titled: Africa Dances, which sold at Sotheby’s London for $264,568.

    Comparing the Western art market to that of Africa, Enakele observed that Africa still remains a virgin terrain.

    In his presentation Nigerian art financing: Overview, challenges and opportunities, he noted that the global art market was worth $63 billion with a 12 percent yearly increase.

    “The share of the US in this market, he added, is 42 percent, while those of the UK and Asia are 18 and 23 percent. Meanwhile, Africa’s share in this huge market is below 0.0 percent,” he said.

    According to Enakele, the prevailing conditions in the art industry might not be appealing to lending institutions. But, he saw these apparent gaps in the ‘art ecosystem’ as ‘opportunities for new players: noting that Nigeria’s art market is growing and it’s a matter of time before supporting infrastructure is in place.

    Oliver, who spoke on A brief history of art in Nigeria, educated possible collectors on the history of Nigerian art for a better understanding of the Nigerian art.

    The impact of the late renowned Ben Enwonwu and the spectacular performances of artists at international auctions only indicate a more promising future for the local art scene. He said: “The future is indeed bright for Nigerian artists,’’ adding that this was the right time for investment.

    Reflecting on the historical journey of art from the pre-colonial traditional art till date, he identified the Nok terracotta heads of 500 BC, 12th to 15th century life-size Ife heads and masks, 15th century Benin bronze sculptures and the relatively recent 19th century wood carvings as some of the major treasures of Nigeria.

    Nonetheless, his exposé on the Modern and Contemporary Art were concise enough as a crash course for any aspiring collector of Nigerian art. However, it was a contribution to educate the local art public rather on the potentials of quality art.

    In his presentation titled: Legal implications of collecting art, Prince Shyllon, one of Africa’s top art collectors,said that there are a lot of statutory provisions, which have not been tested by Nigerian local laws. The first, he said, is the Hague Convention of 1954, which was followed up by the 1970 UNESCO Convention in Paris, which focused on the ‘Protection of Cultural Properties’. According to him, the latter convention sought ‘to fortify the protection and transfer of ownership of cultural properties and illegal exports,’ adding that these conventions fell short of expectations and this necessitated the 1995 UNIDROIT convention, which was convened to fortify and tackle its defects.

    On the protection of the illegal export of art works, Shyllon disclosed that the ‘issue is extensively covered by the provisions of the 1977 National Commission for Museums and Monuments Act of Nigeria as amended by the 2004 laws of the Federation of Nigeria 2004.’

    “Section 21 of the act makes provision for the buying and selling of antiquities. The operative word “antiquities” is interpreted in the Section 32 of the act as works of archaeological interest or relic of human settlement or craft of indigenous origin as well as ‘any of such objects made or fashioned before  1918 or any artistic work of historical or scientific interest or has been used at any time in the performance of any traditional ceremony,” he said.

    He, therefore, decried the abuse of the provisions of the act by the agents of the NCMM, who insist that every exporter of art works from Nigeria must present clearance certificate on any piece whether modern or contemporary.

    Perhaps, more pertinent to the artists in the audience is the Nigerian Copyright Act Cap 28 of the Federal Republic of Nigeria 2004, which ostensibly protects all original artistic works. “The law however behooves on artists the responsibility to register a notification of their right with the Nigeria Copyright Commission,” he said.

    But, Spanish-born Castellotedescribed art as more valuable than money, saying great investors make a lot of money. Great collectors create a lot of collections…There are things that are more valuable than money. Art is one of them.”

    Castellote’s presentation, titled: The making of a collector: Guiding Principles and collecting strategies offered consolatory words to those venturing into art collecting.

    According to him, a great collector has to be passionate. An ignorant collector cannot put up a great collection. He added that a collector must be informed enough to understand why it is important to part with so much of his hard-earned money to acquire an artist’s work.  In addition, he must be thorough, prudent, organised as well as adhere to much of the safeguards laid down by Enakele in his presentation. These include education and research, legal services, acquaintance with secondary markets as well as storage and insurance of artworks.