The Nation Newspaper

Tag: artists

  • ‘Why artists must reap from their sweat’

    “Artists do not live on funerals and because they enrich the world with their art, they should be projected. So it is fair that those who take in their work pay them a share of what they earn,” says Senegalese sculptor, Ousmane Sow. This position formed the thrust of discussions at the Ben Enwonwu Foundation Talk Series on artists resale rights in Nigeria held in Lagos. It featured leading stakeholders in the visual art sub-sector, Omolola Afolabi reports.

    Director-General, Nigerian Copyrights Commission, John Asein, has promised to take actions aimed at ratifying the copyrights provision of the artists resale rights in Nigeria.

    Asein, who spoke at the maiden edition of Ben Enwonwu talk series at Alliance Francaise, Ikoyi, Lagos, made the pledge in reaction to Prof Bruce Onobrakpeya’s appeal to the commission to fast-track the approval of the provision of section 13 of the Copyright Law, which seeks to allow artists benefit from secondary and downstream sales of their works.

    Reassuring the artists, the DG said: “We already have enough concerns with piracy in books and music. I never expected to see this in artworks. Strident measures will therefore be taken against such subsequently.”

    Asein, while enlightening the audience on the point of convergence between the Berne Convention and the Nigerian Copyrights Act, said Nigeria is a member of the Berne convention concluded in 1836, and that section 14 of Nigerian Copyrights Commission act sets minimum standard for artists’ resale rights in Nigeria. “We are, therefore, Berne compliant in terms of our copyright legislation,” he noted.

    Article 14 of Berne Convention sets minimum international copyrights standards, which is optional for only about 80 countries. Asein noted that as far as Nigeria is concerned, there is a provision that makes it mandatory for the artist to enjoy some recompense whenever his work is sold at an auction. He, however, added that for author, when a manuscript is sold, he also gets some compensation.

    Executive Director, Ben Enwonwu Foundation, and President, Society of Nigerian Artists (SNA) Mr. Oliver Enwonwu, who  was keynote speaker at the talk, said it is important to give credence and support to the artist who creates the works, which are exclusive to him alone. Decrying the poor remuneration and funding given to artistes, especially visual artists, he cited the record sale of his late father’s master piece Tutu for 1.2million pounds, which he said, neither him nor his siblings got a dime in return. This, he said, is one of the reasons why ‘I’m quite agitated.’

    Enwonwu, who is also Founder, Omenka Art Gallery, Lagos continued: “There is no evidence that the artists resale right has a negative impact on British art market, which is the largest in the world. If musicians, writers and other creatives can benefit from this property rights, why not visual artists?”

    In her reaction, Prof Ebun Clark, an academic and wife of distinguished writer and scholar, Prof. J P Clark, gave a dissenting opinion saying “I am not against resale rights but please do not compare it with literature. The author doesn’t take financial risk. The publisher does and he prints multiple copies and pays the writer royalty, whereas, the artist takes the financial risk of buying canvass, art materials and go out to sell. Sometimes, you have to market yourself. So, it’s not the same market the writer shares with the artist. And when it comes to Nigeria, the writer doesn’t get royalty until after about three years. And they have limitations like pirates and all sorts. You can have your resale rights but please do not compare that with other literary or artistic genres.”

    Clark added: “I will implore you to also have some pity on the collectors who must have taken some financial risks. Again, you focused on only Britain, but America still has reservations for enforcing the resale rights because they think it might affect the art market. I am for resale rights but I’m just trying to tell you to be wary of comparisons”.

    Enwonwu responded by clarifying that the reason for the comparison is the fact that both categories are intellectual properties. On the US art market, he said: “I know that the US does not have that legislation but the UK market is there, which I pointed out earlier that is the second largest in the world. I also brought in Africa that if it is not paying on our continent, perhaps we should also look into it”.

    Speaking on global market for Nigerian art, Neil Coventry, representative of Bonhams, a leading international auction house for African art, gave a historical overview of the Nigerian art market, describing the late Ben Enwonwu, Bruce Onobrakpeya, Yemisi Shyllon and Njideka Akunyili Crosby among leading lights in the art. According to him, Nigerian artists have all been exhibiting on a global scale since the 1960’s till date, noting that what is new is the scale and interest globally. He also shared a numerical illustration on how the Nigerian art market has evolved tremendously over decades and how interests have begun to increase in the auction houses globally.

    However, Coventry expressed deep concerns about the under-representation of African art in the global market, noting that ‘auction houses contribute a lot to the art market and need to do more, otherwise the market might shut down.’ He identified publishing, research and cataloguing as some of the measures that have been taken to document, thereby enhancing interest in the art market.

    On counterfeiting and forgery in the art market in Nigeria, he presented some shocking images of counterfeited works by prominent Nigerian artists. He revealed that the images showed that pirates do not only stop at forging art works, they also go as far as duplicating the artist’s signature with impunity.

    Commenting on the consequences of this, Coventry said art market gets saturated while interest diminishes, adding that there is too much to lose, not just in monetary value but also in culture, heritage and national pride.

    “When looking at the pitfalls of contemporary African art, Africans have been given the right to write their own story, it used to be that the West told Africa’s story on their behalf. Now, we should tell our own story and all we do is copy one another,” he added, noting that for us to grow the Nigerian market globally, we must do our bit locally.

    Intellectual Property lawyer, Ngozi Aderibigbe, lent her voice on the Berne Convention that seeks to unify copyright laws across member states. She noted that one of its key principles is the ‘national treatment,’ which stipulates that member states are enjoined to give the same treatment to foreign works as they would to their own nationals. She added that the law does make an exception in the case of artist’s resale rights, which makes its implementation optional. This, she said, means a member state is not obligated to extend the same benefit to the artiste unless the home country also provides that advantage. “The implementation of this law becomes tricky, however, because you can’t always track the sale of an original work in a global market,” she said.

    National Gallery of Art Acting Director-General Dr. Simon Ikpakronyi, who was represented by Mr. Ajene Isegbe, said the law that established the National Gallery of Art (NGA) as amended in 2003, has provisions to protect the interest of the artists, but that until this moment, the bill still awaits assent. “If the bill is not implemented, there are several capacities in which the NGA cannot operate,” he added. Legal practitioner and art consultant, Mr. Seun Alli, moderated the panel discussion.

    The Ben Enwonwu Foundation, established 2003 was founded in honour of the late Prof Benedict Enwonwu, a foremost Nigerian artist who was named by Times Magazine in 1950 as Africa’s most influential artist of the 20th century due to his unparalleled contributions to the visual arts industry in Nigeria and the rest of the world. One of his most notable works is a bronze of the sitting Queen of England, Queen Elizabeth (II) and the Anyanwu or the awakening, which currently stands at the United Nations Headquarters in the United States.

    Significantly, stakeholders resolved to draw up action plan for implementing artist’s resale right legislation in the country. Among guests that attended the event included Director, Modern & Contemporary African Art, Bonham’s, Mr. Giles Peppiatt, Chairman, Lagos State Council for Arts and Culture, Polly Alakija, Artistic Director, Lagos Biennial, Kunle Oshun, Director, Mydrim Gallery, Mrs. Sinmidele Adesanya, Prof. Frank Ugiomoh, Kolade Oshinowo, Olu Amoda, Wura-Natasha Ogunji, Ndidi Dike, Olu Ajayi, Burns Effiom and Gbolahan Ayoola. Sponsors and partners of the event were Lagos Deep Offshore Logistics (LADOL), Leadway Assurance Company Limited, Zircon Marine Limited, Jackson Etti & Edu, The Sole Adventurer and Ono Bello.

  • Artists to celebrate World Migration Day

    Nigerian writers will join their counterparts in other parts of the world to commemorate this year’s World Migration Day. In a statement made available to the press, the President of PEN international, Nigerian chapter Folu Agoi, said the association will on Tuesday December 18th organise readings, poetry performances and other literary events to identify with millions of people migrating from one region to the other due to economic, political, social, religious and other domestic problems in their home countries.

    This is one of the United Nations recognised days to draw attention to the plight of many disgruntled people. It is for this reason that PEN Nigeria is keen in using the occasion to bring nearer home  what is happening to milions of migrants through performances and literary presentations and more. Agoi said “PEN Nigeria is an affiliate of PEN International which means International Association of Poets, Playwrights, Editors, Essayists and Novelists, a worldwide association of writers.”

    “We are known to play leading roles in ppromoting literature as a force of global culture and defending freedom of  expression and linguistic rights across the globe. Therefore this is one of those moments in time for us to do our bit.’ The celebration in Nigeria will hold at the CORA headquarters at Surulere, Lagos by 1pm.”

  • Artists celebrate Nigeria, Wheatbaker

    As part of activities marking the seventh anniversary of Wheatbaker Hotel, Ikoyi, Lagos, a group art exhibition, The Contemporaries 11, opened on Monday, featuring works of three contemporary artists: Kainebi Osahenye, Kenny Adewuyi and Kelani Abass. The exhibition is also to mark Nigeria’s 58th Independence Day. It will run till October 15. Simultaneously, it will open tomorrow till October 7 at 1.54 African Contemporary Art Fair in London, the largest fair of African Contemporary Art that attracts over 18,000 visitors yearly. The exhibition is supported by the Wheatbaker and Louis Guntrum Wines.

    Director, Wheatbaker Hotel, MrMosun Ogunbanjo, said celebrating Nigeria’s Independence Day together with Wheatbaker’s seventh anniversary as well as the exhibition reaffirms the hotel’s commitment to celebrate the very best of African creativity.

    ”The second edition of The Contemporaries continues the impressive standard set by the first quarterly exhibition we hosted in 2011, providing a regular platform for celebrating our exceptional local and international talents,” he said.

    Curator and Founder, SMO Contemporary Art, Sandra Mbanefo Obiago, who is delighted to showcase the artists on two important platforms at the same time said art is an important avenue for addressing global issues, adding: ‘We depend on our artists to be good global ambassador for Africa.’

    The group exhibition, which features 38 sculptures, paintings, and mixed media works from the artists, showcases strong visual narratives and powerful figurative abstractions, which explore historic socio-political narratives, the dignity of labour, technology, and the environment vis-vis unbridled consumerism.

    Osahenye, who majored in painting, combines spray paint with oil, pastel and acrylic to convey the idea of melancholy in his isolation series like ‘The Sky Gets Brighter Than Grey Shades of Your Thoughts—you used to be as sweet as pink,’ and others like ‘Broken Spirit,’ ‘Some Have Eyes But Cannot See,’ and ‘My Eyes Have Seen and My Eyes Have Heard 11.’

    According to the artist, pain is a part of life. Pain can drive one to a place of isolation. “In my work, the weight of darkness seems to overwhelm the sometimes anguished form layered beneath the somewhat grey and bright surfaces. The surface can exude grief, but I also like to camouflage this somber mood with colours that radiate energy. The energy that I seek or display in my work, in a way, appears like a prayer. And prayer to my mind possesses the potential to deal with pain,” he said.

    Osahenye’s work, which explores figurative gestures that interrogate society’s insatiability, said Nigerians have had bad times and still treading on rough edges.

    “The marks of pain are now deeply edged on faces of people across our landscape. We continue to sit and wait for a change to come. Indeed, Nigeria has been in a reclining position for too long waiting for her light to shine. Blinded by her corrupt practices, she is unable to see and utilise the enormous treasures buried within her,” he said.

    Coming from a printing press home, Abass, who finished from Yaba College of Technology, Lagos with distinction creates intricate multi-media works, in which small mechanical parts retrieved from his family’s printing press, are layered with photographs and archival materials as the artist explores personal stories against the background of social and political events frozen in time and memory. His ‘man and machine’ series on canvas explore the interchangeable co-dependency between man and technology.

    Abass’s oeuvre questioned common history and character of men and machines through a wide range of different media including installations, acrylics, oils, pastels and charcoal,  ”I engage the use of technology with the printing press, which I use as metaphor for obsolete materials, transporting them into modern relevance, usurping outmoded machinery and tools such as printing cases, letterpress types, metal plates, rubber blocks and the stamping tool to generate new contemporary narratives,” he said, adding that he is intrigued by how the past and present blend.

    “I attempt to make a statement on the future that concedes the interdependence of different moments in time. I explore these themes through painting, photography and printing, using archival materials to highlight personal stories against the background of social and political events frozen time and memory, he added.

    Adewuyi, one of the leading experts of emotive sculptures of elongated figures and exaggerated limbs, uses it in recognition of humanity’s universal struggle for survival and sustained livelihoods. His iconic sculptures are cast in bronze using the lost wax technique dating as far back as the ninth century in eastern Nigeria, keeping alive an ancient artistic tradition.

    “My sculptures express my inner feelings and communicate how I interpret my immediate and extended environment. Humans are social beings who cannot exist in isolation. My figurative bronze sculptures, in exaggerated and elongated forms, explore the day to day difficulties and challenges of human existence,” he said.

  • At Lagos Museum, artists tell tales from within

    No fewer than seven young fine art graduates of various art schools laced the Exhibition Hall of the National Museum, Onikan, Lagos, penultimate Saturday, with their group exhibition titled: “Tales from Within”. It featured about 49 paintings, drawings and mixed media by AkintayoAkintobi, Omoniyi Gabriel, Ikechukwu Ezeigwe, Emmanuel Eweje, Daniel Ajayi and Olatoye David.

    Despite their little experience as studio artists, having left art school a couple of years ago, the artists expressed themselves strongly in each of the media. From simple drawings on day-to-day happenings to sublime, beadsand string art paintings, semi abstract, satire, portraiture, the environment and culture-based works, they used every medium to tell their tales from within without hindrance. And their themes ranged from advocacy for good governance to promotion of culture, nature, friendship, sustenance of the environment, gender equity and faith in God.

    Coordinator of the group Ajayi showed, among other works, IgbaLaye (Time is life) and The Peasant, mixed media rendered in sequence bead. The two works, though dwell on different subjects, are semi abstract. While IgbaLaye showed images of two girls dressed in crazy fashion style of millennium girls, especially those in campuses, The Peasant celebrates dignity of labour as expressed in images of peasants returning home from farm.

    Ezeigwe’s Enemy of the state and Hannibal are timely reactions to the spate of lootings in the country. He painted a man dressed in a black coat and red tie, but with ram heads to illustrate the animal in the looters, who deplete the nation’s patrimony. The two paintings are simply to draw attention to the gravity of corruption, describing looters as enemy of the state, declared wanted for prosecution.

    Eweje, who specialises in thread painting (string art), produced works that proffer solutions to problems hindering national development. He also focused on promoting gender equity in his works. Among his paintings are Gele O dun Bi Kamo we and The beatitudes.

    Other works, which addressed topical issues, include Milk for blood or blood for milk, Monkey Business, Saint and Sinners Life race, “Hidden treasure”, Passion, Hustle and Bustle,Before you judge me, African women and “My faith looks up to thee. Monkey Business addressed the same issue as Enemy of the state and Hannibal.

    But Milk for blood or blood for milk is a reminder of the ongoing killings by Boko Haram and herdsmen in some parts of northern Nigeria, where Internally Displaced Persons (IDP) have increased in most of the states in the region.

  • Artists meet Osinbajo, call for inclusion

    The Society of Nigerian Artists (SNA) has praised President Muhammadu Buhari’s administration for its visionary and timely economic diversification agenda. It also pledged its commitment to rebuilding Nigeria through its numerous partnership initiatives.

    The society made the pledge when its national executive visited Vice President Yemi Osinbajo at the State House in Abuja.

    The umbrella body for all visual artists, which seeks to engender the highest ethical standards in the practice and teaching of visual arts in Nigeria, is, however, handicapped in many ways. To achieve its goals, the society has called on the government to consider the construction of a befitting National Gallery of Arts, in Abuja, to house and promote a national collection of artworks.

    Speaking during the visit, President, Society of Nigerian Artists Mr. Oliver Enwonwu, said the creative industry deserved a regular art biennial or triennial such as Dakar, Biennial in Senegal, Bamako Photo Festival in Mali, FESPACO in Burkina Faso and Black Heritage Festival ‘Akwaaba’ in Ghana.

    He said the sector also needed an Artists’ Village, complete with studios and technological hubs, which will not only facilitate the production and dissemination of artworks, but spur self-employment of artists and designers of future of eco-cities, alternative models of democracy, domestic robots, smart appliances and self- driving cars.

    The initiatives, he said, will boost tourism and gain foreign exchange for Nigeria as well as ‘foster deeper understanding and unity among the diverse cultures, an efficient solution for Boko Haram terrorism, which emanates from an ideology based on social and religious intolerance.’

    The society also called on the government to consider the following: appointment of artists and art professionals to head Federal cultural agencies tasked with the promotion of the visual arts; establishment of National Endowment Fund for Visual Art, in collaboration with Society of Nigerian Artists; embellishment of public buildings and spaces with artworks; enforcement of artists’ royalties on the resale of artworks in Nigeria; tax rebates for corporate organisations to facilitate consumption of artworks; establishment of a Presidential Art Advisory Committee, establishment of a committee in collaboration with Society of Nigerian Artists, to work with relevant federal authorities in overseeing the export of artworks.

    Enwonwu identified some of the society’s challenges to include non-implementation of various endowment funds and policies on the visual arts, dwindling enrolment for the study of the visual art in tertiary institutions across the country. Many of these problems, he said, can be directly traced to inadequate appointments of professionals to boards or headship of relevant agencies concerned with art and culture.

    “The results are to be expected, including the unfulfilled potential of a viable creative sector to lift Nigeria out of an almost sole dependency on crude oil.

    Indeed, the visual art has its peculiarities and art professionals themselves are best positioned to improve its understanding and proffer solutions to challenges within the sector. Indeed, the fact that today, we do not have a separate Ministry of Arts and Culture, away from information, might be enough evidence of the poor appreciation of the visual arts as tools for socio-economic development.

    “In other climes, the visual art sector is one of the biggest employers of labour and reformers of public attitude. Examples abound in institutions like the Louvre in  France, the Statue of Liberty in the United States and with artists like Picasso in Spain. In these examples, we witness the phenomenal power of art to brand a country and improve her image, a situation much needed in a Nigeria dealing with the scourge of Boko Haram,” he added.

  • Obaseki assures of support structures for Art, Culture sector

    …lauds ‘Journey of An African Monarch’ exhibitor

     

    The Governor of Edo State, Mr Godwin Obaseki, has assured artists, curators, collectors and art enthusiasts of his administration’s support for the art and culture sector through a mix of market-oriented policies, promotion of Edo arts and crafts in the international market as well as the construction of a new museum in the state for the kingdom’s prized artworks.

    Obaseki said this at a photo exhibition in Benin City, with the theme: “Journey of An African Monarch,” organised by Mr. Omoregie Osakpolor.

    According to the governor, “Edo State has continued to produce some of the finest artists in the industry and I urge our youths to take advantage of the enabling environment we are creating for them to express themselves.”

    The organiser said the exhibition showcased a photography series reenacting the great Benin kingdom’s coronation rites of the 40th Oba, Oba Ewuare Ogidigan II.

    “The series which tells the two-week coronation story of the Omo n’Oba n’Edo, Oba Ewuare II’s ascension to the throne of the King of the ancient Benin kingdom, goes beyond just a collection of pictures, but also the reenactment of the Benin traditional rites of the coronation of the Oba and rich cultural heritage of the Edo people.”

    He expressed his gratitude to the governor for identifying with the exhibition, and noted that the governor’s endorsement of the event will raise its profile.

    Osakpolor explained that “the exhibition having witnessed a huge success in Lagos and Abuja, will be running in Benin at Ben Osawe Art Centre, till June 3.

    He expressed his thanks to God for the success of the exhibition, which he said is “his first exhibition amongst other projects he has achieved in recent times.

    Osakpolor is a documentary photographer and 2017 nominee for the Edwin George Prize for Photography at The Future Africa Awards.

  • Artists capture varying shades of Oshinowo at 70

    Artists capture varying shades of Oshinowo at 70

    For over two hours, former Society of Nigerian Artists (SNA) President Kolade Oshinowo was a model for 22 artists at a life-drawing session.

    The two-part session featured artists who captured Oshinowo’s image from various angles on various media, such as pencil, oil, charcoal among others. Of the participating artists, over 60 percent were at one point or the other students of Oshinowo who turned 70 on February 6.

    The session, which was held at the Life Drawing Studio, Yaba College of Technology (YABATECH), Lagos and coordinated by Olu Ajayi, was part of activities marking Oshinowo’s 70th birthday celebration.

    Interestingly, it was the same hall Oshinowo held sway as a strong apostle of drawing, and as an art teacher for over three decades at the School of Art, Design and Printing Technology.

    Penultimate Thursday, it was a role reversal as Oshinowo the ‘master’ was receiving ‘instructions’  from his ex-students.

    Participating artists included Olu Ajayi, Duke Asidere, Edosa Ogiuigo, Segun Adejumo, Kelani Abass, Biodun Olaku, Bimbo Adenugba, Ibe Ananaba, Kehinde Adenle, Akin Onipede and Tunde Soyinka.

    Others were Sam Ovraiti, Dotun Alabi, Biodun Kafaru, Aladegbongbe Aderinsoye, Olojo Kosoko, Lekan Onabanjo, Deola Balogun, Ejoh Wallace, Stanley Ohikhuare, Ayotunde Medayese and Abolaji Alausa.

    Apart from providing a platform for old students of YABATECH to pay homage to their big masquerade in the art, it also served as a forum for interactions among Lagos artists. Little wonder the atmosphere at the studio was that of camaraderie-lively and exciting moments with lots to drink and eat amid exchange of banters.

    The YABATECH former deputy rector expressed his gratitude for the honour, saying: “I am privileged to have this high power representation. I am really so glad.’’

    He said the venue of the drawing  in which he spent many years is a familiar ground to most participants. He recalled that some years ago during a similar session, any student who came late would not enter the studio.

    “But the students of those days who were running around in their teens and early 20s are now matured masters in their own right. I am privileged to have this high power representation and I am really so glad. Artists have come voluntarily to be part of this session which has been very lively. One would have loved it to continue because of the spirit of comradeship and camaraderie. I want to thank you all most sincerely. This is not a carry-over session as everybody is left to interpret the subject freely. In those days, if you did any interpreting, you know you are out. But, now you are matured and can interpret in anyway you like. This is a fun exercise in a relaxed atmosphere,” he said.

    The session was supported by AB Art World, which supplied the art materials.

     

  • Loss of village: Artists decry unfulfilled promises

    Loss of village: Artists decry unfulfilled promises

    Two years after, the Minister of Information and Culture, Chief Lai Mohammed, is yet to fulfill his promise to compensate artists, whose studios and performance spaces, were illegally demolished.

    On Saturday, January 23, 2016 at about 6:00 am, the then National Theatre of Nigeria General Manager, Kabiru Yusuf YarAdua, invaded the National Council for Arts  and Culture (NCAC) Artists’ Village, which housed arts studios, workshops, dance studios and some service contractors with a bulldozer and two truckloads of armed policemen.

    The padlocks and chains used in locking the gates were broken and Kabiru entered the premises with his demolition squad. The noise generated by the forceful entry attracted the attention of residents who watched as Kabiru and his team, which included ‘thespians’, such as Stephen Ogundele and Biodun Abe, ordered the demolition of the arts and dance studios, galleries and restaurants servicing the community. Some of the demolished structures belonged to the NCAC while others built by artists had the approval of the NCAC.

    The NCAC is one of the parastatals in the Federal Ministry of Information and Culture and the NCAC Artists Village is one of her flagship projects. The NCAC law that established the Artists Village has turned out to be one of the best  in the industry.

    This is because it clearly demonstrates trickle down of government spending in the arts. This is critical because research grants, travel grants and support for New Work and productions from government have all but dried up.

    The resident arts practitioners, who represent some of the best in the culture scene had no prior notice of the exercise and our landlord, the NCAC, was not informed.

    Kabiru carried out his vindictive demolition without allowing the artistes and business owners the opportunity to salvage artworks and belongings and as a result caused extensive damage to property and valuables.

    A visual artist, Mr. Smart Ovwie, a sculptor, who arrived the scene later and saw the destruction of his properties, lamented to Kabiru, asking what he did to be oppressed this way. In response, the policemen harassed him and fired shots which sent bullets which hit Ovwie on the leg.

    It was truly tragic to see government officials who have statutory responsibility to promote and develop the arts and culture brutalising artists and destroying government property with impunity. It was, indeed, a clear manifestation of the misrule that Nigerians have been subjected to in recent years

    Later, the Minister for Information and Culture, Alhaji Lai Mohammed, addressed the resident artists. He promised that the injured would get support for their treatment in hospital and that those who are legitimate residents would be duly compensated for damage done to their structures. The Minister confirmed that he asked Kabiru to demolish shanties at the back of the Artists’ Village along the canal that has been a route for miscreants and not Arts Studios and structures in the NCAC Artists’ Village. To date, the ‘Honourable’ Minister’s promise of compensation and rebuilding of the Artists’ Village to a world-class has not materialised.

    We wish to use this opportunity to thank Nigerian and international journalists, media organisations, Institutions and organisations in and beyond the culture sector, and the public for their invaluable support for our struggle to ensure that justice is done and that public trust is not abused with impunity by political office holders.

    On April 13, 2016, we received letter dated April 6, from the Minister (attached) in which he promised to pay N20 million as compensation on behalf of President Muhammadu Buhari’s Federal Government.

    He also made further promises relating to infrastructure and capacity building. We strongly believe that Buhari is an honourable man who will under no circumstances, allow innocent and hardworking Nigerians who promote our arts and culture to suffer. We, as members of Nigeria’s creative sector, find this situation appalling and feel it should be unacceptable to right thinking Nigerians.

    It is important to inform at this point that the Executive Committee of NCAC Artists’ Village Network, after due consideration and deliberation and after fruitless efforts to get the Minister to keep to his word, has engaged the services of the law firm of Momson, Solanke& Co Solicitors to represent the community in the matter.

    We are resolute in our commitment to the protection of the civil and human rights of our members who have been working in the rain and sun for two years now due to the insensitivity of a government that has failed to recognise their invaluable contribution to the development of national culture.

     

    • Agubom (Kurious K) is Deputy Coordinator, Artists’ Village Network, NCAC Artists’ Village, Lagos.
  • Celebrating two generations of art, artists

    Celebrating two generations of art, artists

    Their contributions to the development of art and talents of diverse ages earned them a prestigious place as celebrators.They were honoured at the Artists Social Forum held at Tafas As the president of SNA, Grillo would sell his works to fund activities of the association, even when he was no longer president. I am happy that the three of us are still alive today House in Lagos. One of Brazilian descent and the other a Benin princess behold the art maestros – Yusuf Grillo and Peju Layiwola. EVELYN OSAGIE reports.

    Their ingenuity and contributions would be remembered for generations to come. Beyond being exceptional artists, they are both teachers and mentors of artists. Welcome two art maestros belonging to different generations to the Artists Social Forum held at the famed Tafas House, Lagos. The celebration of the former Head of the Department of Art and Printing at Yaba College of Technology, Yusuf  Grillo, and professor of Art history at the University of Lagos (UNILAG), Peju Layiwola, brought together artists, curators, patrons and other art stakeholders.

    But it was no ordinary feast. Beyond feting the art maestros, the event raised some concerns over the dire need of selfless mentors/leaders as the two celebrators and proper legislation in the creative sector as scholars examined the art and times of the celebrator. On the panel were Chief Fasuyi, Mike Omoighe, Dr Kunle Filani, Elder Jerome, Elaiho, Bruce Onobrakpeya, who was represented by his son, Mudiare, and Bunmi Davies. The discourse also focused on past, present and future Nigeria’s art direction.

    The forum, which was sponsored by Chief Banjo Fasuyi and Elder Jerome Elaiho, was moderated by Mufu Onifade.

    According to the Dean School of Art, Design and Printing, YABATECH, and one of the events’ conveners, Dr Kunle Adeyemi, besides celebrating achievers in the art sector, the event was meant to bring together like-minds in the sector with a view to generating meaningful discourse around and promoting the arts.

    While calling for selfless service from among the artists and its leadership, the convener, he urged all to draw from the examples of Grillo and Layiwola who are always eager to support the work of art and mentor artists.  .

    “Grillo is generous with time, discourse regarding the art and with his money. He often urged that we should enjoy our lives while it last.  Artist should be proactive on local, national and international issues. Layiwola is no different. She has gone beyond the art practice and academia to impacting knowledge to the community around her,” Adeyemi said.

    Eighty-four year old Grillo, whose family settled at Campos Area of Lagos, is considered one of Nigeria’s outstanding and academically trained painters. He came to prominence and international recognition in the 1960s and 1970s, while exhibiting a large collection of his early works. He makes use of his western art training in many of his paintings, combining western art techniques with traditional Yoruba sculpture characteristics.

    Recounting his days with Grillo, the veteran artist and colleague of the celebrator, Fasuyi, described Grillo as “a very modest and honest man” who supported and funded the young artists and art projects for the good of other artists. Fasuyi, who was Secretary-General when Grillo was president of the Society of Nigerian Artists (SNA), stated that, he, Prof Bruce Onobrakpeya, Grillo and three others formed association.”As the president of SNA, Grillo would sell his works to fund activities of the association, even when he was no longer president. I am happy that the three of us are still alive today to see arts appreciated and artists celebrated. In our days it was not so; we braced the odds and set a trail that paved a way for others after. We thank God.”

    He urged older artists to mentor and immortalise themselves in the younger one, while advising artists to go beyond selling their works to archiving them for posterity. “We chose to celebrate Grillo like we did Onobrakpeya earlier and Layiwola because of their contributions to the development and teaching/training of young talents to encourage others to do same.”

    “Pa Onabolu taught him art in school, but he wanted to study Mathematics,” began Grillo’s protégé, Mike Omoighe while speaking on the art and times of the celebrator, “Grillo art teaches us to make conscious efforts to search into our roots and make efforts to recreate new ideas that propagate our culture. And that we should guide our space as artists.

    “After school, he worked as a draughtsman.  In Ahamadu Bello University (ABU), he was teaching engineering and architectural studies. He explored African forms: he used semi-abstract and his environment chacterises his art. Some of his works reflect Lagos robust social life (Kusimi Laya) and highlife (Seefe). He is one artist that uses his wife as model. He created the 3-dimensional mask effect that shows his mathematical inclination, such as Igi Nla,” Omoighe, who lectures at YABATECH, added.

    Like Grillo, Layiwola’s role in the promotion of art and training of artist is noteworthy, it was said.  Layiwola (50), who is also the Head of Department of Creative Arts at UNILAG, is an established artist with over two decades of experience and practice. Since 1994, she has been teaching and nurturing talents within and outside the academia and run an art charity WYArt focusing on training women and youths. She also recorded DVDs on diverse vocations that train and sell crafts/arts.

    A friend and colleague, Stella Awoh, called Layiwola a “multitalented artist” and a “Jack of all trade and master of all”. “She is a Progress-31 woman and a highly talented and hardworking artist who sometimes sleeps in the office. She is tough: her ‘no’ is ‘no’ and ‘yes’, ‘yes’. To be on her good books as a young artist, you better get it right’,” Awoh, who is also the Vice President of Female Artists Association of Nigeria (FEAAN), said.

    Art connoisseur Mudiare, who represented his father, Onobrakpeya, said Grillo helped nurture the art in him. “Although I studied economics, my confidence in myself and my art was built from my early days in Corona School because at age eight or nine because Grillo decided to sponsor a prize which I won in 1975. He is an epitome of the finest of society of artists.

    Filani praised the quality of works by Grillo and Fasuyi’s generation of artists, urging younger ones to borrow a leaf from their examples and commitment to the arts. He encouraged his fellow artists to seek to contextualise history through their art, observing that the study of the life of an artist is contextualised in their works.

    While describing Grillo, who is her uncle,as being “very generous with time and money”, Layiwola described him  as a “giver, a teacher who is ready to spread knowledge”. “These are virtues lots of us should take away.”

     

  • Ihedioha makes case for artists 

    Ihedioha makes case for artists 

    A former Deputy Speaker of House of Representatives, Emeka Ihedioha, has urged Nigerians to support and encourage creative artists in the country.

    He made the call at an exhibition of art and fashion organised by Korean Cultural Centre in collaboration with Association of Professional Creative Artists and Designers in Nigeria (APCAD), in Abuja.

    The former Peoples Democratic Party (PDP) governorship candidate in Imo State, said with encouragement from Nigerians and governments, creative art could replace oil as Nigeria’s source of revenue.

    He said: “When the MC said art is the next destination to replace oil highly it is possible. We need to encourage ourselves to believe and depend on ourselves.

    “You don’t need to go to school to be a wonderful artist. You don’t need to go to school to earn a living.”

    In his address, Director, Korean Cultural Centre, Han Sungrae, said the centre had partnered Nigeria to promote different forms of arts.

    He added that the latest partnership with APCAD showed that the centre is ready to continue to work with stakeholders in the sector.

    Mr. Sungrae said: “Since its establishment in 2010, the Korean Cultural Centre has undertaken a variety of partnerships and activities in Nigeria aimed at promoting the value of all forms of art.