Yinka Shonibare Foundation
Guest Artists Space
G.A.S. began working collaboratively with Goodman Gallery in early 2022 following the Foundation's local launch in Nigeria. The resulting opportunities are funded through our Fellowship Platinum Partner donor package, a giving level used to directly support three residency fellowship awards in Nigeria over a three-year period with a focus on African and African Diaspora recipients. In this instance it allows artists who are either represented by or exhibiting with Goodman Gallery to complete a residency at G.A.S.
Nolan Oswald Dennis is a para-disciplinary artist based in Johannesburg, South Africa. Their practice primarily explores ‘a black consciousness of space’ focusing on the material and metaphysical conditions of decolonisation whilst questioning histories of space and time through system-specific, rather than site-specific interventions. Nolan, whose residency starts this week, is supported by Goodman Gallery through our Fellowship Platinum Partner donor package. They are Goodman Gallery's inaugural Artist in Residence at G.A.S. and will be returning to Nigeria later this year to participate in the Lagos Biennial.
Our newest G.A.S. Fellowship resident Samuel Nnorom had a busy year in 2022 showing his work extensively in Nigeria at Kó Gallery, Alexis Galleries, and ART X Lagos as well as further afield at AKAA Art Fair in France. 2023 looks set to be an equally exciting year for the artist and the first chapter of that journey lies in his one-month residency at G.A.S. Lagos. It will be the first time that Nnorom, typically based in Nsukka, will be able to make work in and in response to Nigeria's biggest city.
On 2nd January Dr Mahret Ifeoma Kupka landed in Lagos under a harmattan sky ready to embark on her long-anticipated two-month residency at G.A.S. Lagos. She is the final Germany-based curator to join us as part of the TURN2 Programme. The initiative, developed by the German Federal Cultural Fund, was conceived to facilitate artistic co-creation between Germany and African countries. Here she shares insights into her practice and hopes for the next eight weeks.
As we launch our 2023 programme, we wanted to take the opportunity to thank the incredible residents whose commitment and enthusiastic participation lie at the heart of everything we've been able to achieve in our inaugural year. Their drive, energy, ambition, and ideas continue to inspire us and have been invaluable in helping us shape Guest Artists Space.
Queering the Subversive Dye: Thoughts on Textile and Gender was the second event in a two-part series hosted by Miriam Bettin to mark the end of her residency at G.A.S. The event revolved around a conversation with Matthew Blaise, Dolapo Osunsina, Adebayo Quadry-Adekanbi, Zee and Adeju Thompson that was focused on textiles and gender whilst touching on questions of spiritual practices, pre-colonial queer politics, gender identities and performance, as well as degendering fashion.
We managed to generate some incredible coverage of our International Launch with more exciting stories still to be published. Here is a taster of some of our favourite articles as we close off the year and look forward to more exciting projects in 2023.
The Access ART X Prize awards early-career artists from Africa and its Diaspora with opportunities to develop their practices, with the intention of setting them up for the highest levels of success on the global stage. The Prize, formerly open only to emerging Nigerian artists, has evolved to include an additional award that is open to emerging artists from all of Africa and its Diaspora, in a bid to buttress sustainable careers for a wider range of artists.
To conclude her residency at G.A.S. curator Miriam Bettin hosted the first exhibition at the G.A.S. Farm House in Ikise, designed by Papa Omotayo. The show brought together artists and designers whose work with textiles emphasises the fluid, transformative, anti-colonial, emancipatory, and queer-feminist qualities of the medium. The artists shared a dedication to tradition and at times nostalgia that is being reimagined in the context of contemporary discourses and aesthetics.
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