My first time attending a distinguished art event was at the 8th edition of Art X Lagos, which was held on Sunday, 5th of November 2023, at the Federal Palace Hotel, Lagos, Nigeria.
If you ask me to describe Art X Lagos 2023 in one word, it would be very hard for me to do so, but if you make it to the end of the article, you may find the answer.
Photo Credit: Priscillia Uzomah
Sculpture by Professor Bruce Onobrakpeya
Photo Credit: Priscillia Uzomah
Right at the entrance of the venue, I was struck by the towering and impressive sculptural works of Professor Bruce Onobrakpeya using car waste. As I made my way in, I was pleasantly surprised to see the well-organized layout of the venue, with galleries to the left, and various projects to the right. The Art X Talks had already commenced in the amphitheater which was smackdown in the middle of the space.
Photo Credit: Priscillia Uzomah
Special Projects, Galleries & Artists
There were 10 galleries with over 30 artists’ works on display, as well as special projects such as ‘Writing With…’ featuring the legendary works of Professor Bruce Onobrakpeya; ‘The Hands That Remain,’ by Papa Omotayo & Max Kalaiwo; ‘Access Art X Prize 2022 Winners’; ‘Lagos Art Book Fair’ by We Make Books & Goethe Institut; ‘Passing/Building/Victory’ by Dennis Osadebe, and many more.
Photo Credit: Priscillia Uzomah
I cannot claim to have an exceptional eye for art, but as I went through the different galleries, I found myself captivated, impressed, occasionally perplexed, and, at times, transported to peculiar yet strangely familiar places.
I didn’t get the chance to see and experience everything that was showcased, but the works of two artists caught my attention and I’m compelled to share what made them truly exceptional.
The first one, who left a profound impression on me was the Nigerian visual artist, Uthman Wahaab, presenting his work titled ‘Where is Chi Chi,’ a captivating debut at O’Da Art Gallery.
‘Where is Chi Chi’ by Uthman Wahaab
‘Where is Chi Chi’ features vibrant paintings portraying women engaging in various activities in diverse settings. The women are full figured and casually dressed. They seem at ease with themselves, and in their surroundings. They are lounging in pools with drinks in hand, enjoying picnics, taking leisurely walks, or basking in the sun.
Uthman Wahaab’s work is a powerful testament to how the female body should be allowed to exist and be expressed in moments of leisure, liberated from the oppressive beauty standards imposed by society.
His inspiration stemmed from his friend Chi Chi, who confided in him about her insecurities regarding her weight almost a decade ago.
View all here
The second was Kenyan artist April Kamunde’s works, thoughtfully curated by Afriart Gallery. The very first painting that caught my eye was titled “SIJISKII (I don’t feel like it).”
In this piece, a woman sits gracefully, one foot tucked beneath her on a stone bench, while the other rests on the ground, surrounded by a lush clump of bushes and trees. Her gaze is fixed straight ahead, and she dons the traditional Somali garb known as Dera, akin to a Hawaiian Mu’umu’u.
‘SIJISKII (I don’t feel like it)’ by April Kamunde
What truly captivated me were the exquisite details April had painstakingly incorporated into her work, from the intricate creases on the woman’s attire to the meticulous rendering of the cobblestones underfoot, the vibrant colors, and the play of light filtering through the trees, casting enchanting shadows. Another gem among her creations, “Tulia Tuli Tuli,” left me equally awestruck.
Click here to see other artists that were showcased at the 8th edition of Art X Lagos.
Art X Talks
I walked into artist Ibrahim Mahama’s conversation on Leading Contemporaries, which was being moderated by curator, Missla Libsekal. Ibrahim is the founder of Red Clay Studio, Savannah Centre for Contemporary Arts (SCCA TAMALE), and Nkrumah Volini.
From his insights into his caricature to the various large-scale illustrations he has exhibited all over the world, Ibrahim strives to explore themes which echo the past and give them new meanings that can fill the void in the hearts of the present generation.
To support his perspective on how contemporary art can elevate a people, he illuminated the significance of one of the infrastructures he had masterminded: a railway line situated in the northern region of Ghana. This railway line was ingeniously pieced together from the remnants of dilapidated railways in Accra, which were originally constructed during the colonial era to facilitate the transportation of valuable goods such as cocoa and gold for export.
Remarkably, the labor, which had been used to construct these railways a century ago, came from the North. However, despite their significant contribution, the government had never seen it fit to commission a rail line in this region.
By repurposing these materials with historical nuances, and providing access, particularly to the young inhabitants of the area, he not only offers them a form of reparation, but also a profound reconnection with their heritage.
Ibrahim works with a wide range of materials—jute sacks, straws, fabric, wood, and whatever he can negotiate for, all in the bid to provide a fresh and profound meaning to these pieces through the works he creates.
View all here
In response to a question about art and education, he said, “Art inherently is supposed to be transformative. We may get carried away by the aesthetics sometimes, but inherently there is so much power in art. Education also has transformative powers.” It is his fervent hope that individuals from diverse backgrounds, all over the world, will have the opportunity to experience the transformative power of art.
Professor Bruce Onobrakpeya, led the conversation on “Writing For The Times”, which was moderated by Ifeoma Fafunwa. At the age of 91, Professor Bruce’s voice still carries the strength of youth, as it traveled across the amphitheater. He shared the story of how he discovered his talent for the arts in secondary school, and the journey thus far. Professor Bruce has changed the narration of Nigerian folktales and mythology, locally and internationally.
Bruce Onobrakpeya at Art X Talks
He is a printmaker, writer, illustrator, sculptor, to name a few of his many talents, an icon of modern and contemporary Nigerian art. He’s a UNESCO living human treasure, involved in political, social, and environmental work; the founder of The Harmattan Workshop, and a legend and an inspiration to many. He’s also one of the founding members of The Zaria Art Society along with Uche Okeke and Yusuf Grillo.
From left to right: Missla Libsekal, Prof Bruce Onobrakpeya, Ibrahim Mahama, Tokini Peterside-Schwebig, and Ifeoma Fafunwa
I like to think of the members of The Zaria Art Society (The Zaria Rebels) as revolutionary art experimentalists, because they developed unique forms of art expression to promote Nigerian culture and spread the beauty of art. They were inspired by the struggles for independence in the ’90s, which were spearheaded by African Nationalists like Nnamdi Azikiwe, Kwame Nkrumah, Jomo Kenyatta, and so on.
It was an enlightening conversation and I particularly loved how the professor explained the connection between writing and visual arts. “Literary arts and visual arts are from the same source,” he said.
Photo Credit: Priscillia Uzomah
This revelation about the connection, as he explained it, came from being surrounded by his mates, whom he referred to as the “Independent age group,” and with whom he shared interests in literature, history, and folklore. They came to realize they could use visual arts to translate some of the ideas they learned from books.
As some of them continued to expand on these ideas through written words, the others chose visual arts; yet, they complimented each other’s works. The professor illustrated some of his written works, and some of the literary works of Wole Soyinka, Chinua Achebe, Cyprian Ekwensi, and more.
Photo Credit: Priscillia Uzomah
Femi Lijadu, a lawyer, art curator, poet, patron, and board member of Art X Lagos, was also a delight to listen to. His conversation with Ugoma Ebilah, on the topic, “Reimagining Patronage as a Practice”, put into perspective what it means to be a patron of the arts.
“A patron can be a friend to the artist, an avid listener, someone the artist can talk to about their ideas, and not only someone with bags of money to support an artist by buying their artwork.”
I was in awe when he explained his art collection as a representation of love, and not just a monetary asset. For him, art has transformed his life in so many ways, and it also influences his work as a lawyer.
Femi Lijadu at Art X Talks
Fun fact: his office is also home to many of his art collections and I hope to visit one day.
Finally, he urged everyone to remember what they had seen and felt at Art X Lagos, “People will come in 50 years to this place trying to grasp what it was. We are at the point of inflection, let’s take it and catapult it into a bright future.”
So, if you ask me to describe Art X Lagos in one word, I would have to settle with, “enlightening,” because it’s the closest word that expresses what I experienced. I relished the various mediums in which art is shared—sketches, paintings, literary works, caricature, print, film, illustrations, virtual reality, and many more. It was all familial, spiritual, and sensual. That being said, I look forward to seeing you at the next edition.
