November 28-1 December, 2024 Transcorp Hilton Hotel, Abuja

International Institute for Creative Development (often referred to as IICD Center) in collaboration with the U.S. Embassy initiated the Abuja Open House as a programme to connect and bridge the gap between Abuja's creative audience, art spaces and galleries. It is a four-day event of vibrant art experiences and gallery hopping. It will be held from the 28th November-1st December 2024.

 

This year’s Abuja Open House (AOH) will be our fourth edition, each iteration represents a moment of divergence in progress, discovering, sharing and learning, and then merging into a triangle. Like the pyramid, tipping towards creative excellence, the Open House maps solid foundations, where we can converge and synchronize the framework for discovering Abuja’s creative spaces, connecting creative and accelerating voracious consumption of the arts.

 

Themed “Semiotic Connections” will explore the signs and their meanings, connecting the knowledge based on the intrinsic cultural consumption characteristic of Abuja’s art scene, seeking to consolidate the growth trajectories, and inspire new opportunities sustained within the analytical and synthetical framework of contemporary practice.

The opening conference will be Friday 29th, November 2024 by 9:00 AM at the Transcorp Hilton, Abuja.

To attend the opening conference reserve a ticket here: https://tix.africa/aoh2024

Join our amazing speakers, cultural stakeholders and top Abuja’s creative spaces as we deepen the creative conversation, share our art and spaces with you.

Thank you and see you

 

Abuja Open House 2023

It is with great excitement that we announce the speakers for this year's Abuja Open House Conference, opening on Thursday 26th, October 2023 at the Transcorp Hilton Hotel, Abuja from 10:00 am to 2:00 pm.

This year we bring you amazing international speakers who are engaging the contemporary discourse in art today, we have, Dr Kunle Filani,(Prof of Fine Art and Aesthetics), Dr. Jess Castellotte (Director, Yemisi Shyllon Museum, Lagos), Prof. Jerry Buhari (Prof of Fine Art, ABU Zaria),Victor Ehikhamenor (Artist and Writer), Sarah Duchane(Art Book Publisher) Okechukwu Uwaezuoke(Art Critic), Silva Imal (Artist and Creative Entrepreneur), Abdulkareem Baba, Aminu( Writer and Editor), Tanko Yunusa Abdullahi (Documentary Photographer) and Nduwhite Ndubuisi Ahanonu(Artist, Curator, and Cultural Manager).

They will be engaging our attendees on 'The Future of Museums', 'Art as a Tool for Shaping Society', 'The Artist of the Future', 'Publication and Critical Documentation in Contemporary Art Practice', and 'Partnerships and Collaboration in the Cultural Sector'.

Abuja Open House is initiated and designed by the International Institute for Creative Development Abuja with the support of the U.S. Embassy in Abuja, and sponsored by the British Council, Transcorp Hilton Abuja, Fraser Suites, Turkish Embassy, Moeshen Art Gallery, and Nordic Hotels.

Abuja Open House will be a weekend of events and activities across all participating galleries.

From October 26th to 29th, the galleries will be open, offering exhibitions, artist talks, drinks, food, 'Live Art' experiences, face painting, body art, etc.

It is an opportunity to connect with the very best of the Abuja Art Scene and experience the grace of art and creativity as the Abuja Art scene comes alive again.

To attend the opening ceremony, reserve a seat here:

https://tix.africa/aoh2023

Interestingly we have limited seats available for the opening conference this year.

OPEN CALL "UPCLING REDEFINED 2023"

UPCYCLING REDEFINED 2023…” Our Built Environment”

Upcycling Redefined 2023, will focus on the impact of the human-made environment, highlighting the connection between physical spaces and their social consequences on the climate, inspire creative sustainable innovation and circular built environment, design for longevity, flexibility, assembly and disassembly, adaptability, reuse, recoverability, and alchemic green spaces and designs.

Who

Architects, artists, Engineers, Interior designers, Quantity and estate surveyors, Industrial material producers, and other personnel working in the infrastructure industry, as well as environmentalists, will be targeted. It is intended to coax professionals on the importance of a circular sustainable environment, green spaces, and its economic impact.

Why

The World Business Council for Sustainable Development (WBCSD) has given the blueprint which provides an exhaustive list of principles for a sustainable built environment. it expresses thus:

A sustainable built environment is circular, designed for longevity, flexibility, adaptability, assembly, disassembly, reuse, and recoverability, and considers future climate risks. It uses low-carbon, low-impact, non-toxic materials, and it recovers used resources (materials and products on-site or from other sites). It is powered by renewable energy, ensures sustainable water consumption, and enhances the well-being and safety of people. Green spaces, natural biodiversity and nature-based solutions increase resilience, well-being and social connectivity. It prioritizes sustainable and shared mobility.

The built environment highlights the connection between physical spaces and social consequences. It is the blueprint for the construction of any structure and its potential effects on the surrounding environment. Buildings contribute to over 40% of global energy-related greenhouse gas (GHG) emissions, with around 28% ascribed to building operations and 11% attributed to building materials, and use more than half of all global raw material consumption. Resulting to a negative impact and its active contribution to climate change which breeds its further consequences and greater challenges. As a result, buildings are negatively influencing the environment and actively contributing to climate change, which leads to more implications and issues.

There is no better stage for the infrastructure sector to tackle climate change and ensure long-term sustainability than at its blue print, hence the focus on sustainable built environment. Our protracted inaction on climate change has had serious consequences, and we are now in a reactive mode. Let us not be fooled into thinking that things can't get any worse. As we react to the effects that have already occurred, we must become proactive in order to rescue our future, particularly in one of the primary sectors that affects our environment.

How:

Upcycling redefined 2023 will take an open thematic experimental pedagogical approach that has been carefully designed to inspire the participants on circular design thinking, upcycle and recycling sustainable environmental practices, alchemic architecture, literature, research, documentaries, seasoned environmental mediators, and lectures sessions, as well as demonstrative practical sessions with the facilitators.

Participants will have two weeks to implement individual and collaborative projects, junking exercising, and open studio to demonstrate their process to the public, students, and other creatives around the community.

A collaborative project from sponsor partners will also be installed on sponsor's specific spaces for public consumption, Individual Artists Projects realized will be exhibited at the Transcorp Hilton Abuja, A place that brings together government officials, local and international policymakers, media, and the general public which will help to further sensitized and educate people on the importance of upcycling and its economic benefits.

 

When

Upcycling redefined is a 3 weeks intensive, open thematic practical workshop slated for June, 1-21st, 2023 with a one-week exhibition opening at Transcorp Hilton, Abuja on the 21st June, 2023.

ABUJA OPEN HOUSE 2022 OPENING CONFERENCE

It is with great honour that we announce our speakers for this year's Abuja Open House Conference, opening on Thursday 27th, October 2022 at the Transcorp Hilton Hotel, Abuja from 10:00 am to 2:00 pm.

This year we bring you amazing International speakers who are engaging the contemporary discourse in art today, we have Mr Martin Huth, Deputy Ambassador, German Embassy, Beste Gursu, Art Consultant and Curator from Turkey, Victor Ehikhamenor, Artist and Writer, Okechukwu Uwaezuoke, Art Critic and Journalist, Nduwhite Ndubuisi Ahanonu, Artist, Curator, and Cultural Manager.

They will be engaging our attendees on topics around "Intercultural dialogues, potential partnerships, and project development", “Collected or Contested, Repatriation or Reparation, are we prepared?” “The Artist and these times”, and “Sustainable cultural policies and mediation,” etc.

Abuja Open House is Initiated and designed by the International Institute for Creative Development Abuja with the support of the U.S. Embassy in Abuja, and sponsored by Transcorp Hilton Abuja, Fraser Suites, Turkish Embassy, Brazilian Embassy, Moeshen Art Gallery, Jireh Media, French Institute, Turkish Airline, and Nordic Hotels.

Abuja Open House will be a weekend of Gallery hopping from October 27th to 30th, all selected galleries will open, offering drinks, food, face painting, body art, and Live Art experiences. It is an opportunity to connect with other creatives, and experience a convergence of amazing art and creative moments as the Abuja Art scene comes alive again.

To attend the opening ceremony, reserve a seat here: https://tix.africa/aoh2022

Interestingly we have limited seats available for the opening conference this year.

Thanks

Take the Map and take the Tour!

OPEN CALL : UPCYCLING REDEFINED 2022 "BUILT ENVIRONMENT"

UPCYCLING REDEFINED 2022…” Our Built Environment”

Upcycling Redefined 2022, will focus on the impact of the human-made environment, highlighting the connection between physical spaces and their social consequences on the climate, inspire creative sustainable innovation and circular built environment, design for longevity, flexibility, assembly and disassembly, adaptability, reuse, recoverability, and alchemic green spaces and designs.

Who

Architects, artists, Engineers, Interior designers, Quantity and estate surveyors, Industrial material producers, and other personnel working in the infrastructure industry, as well as environmentalists, will be targeted. It is intended to coax professionals on the importance of a circular sustainable environment, green spaces, and its economic impact.

Why

The World Business Council for Sustainable Development (WBCSD) has given the blueprint which provides an exhaustive list of principles for a sustainable built environment. it expresses thus:

A sustainable built environment is circular, designed for longevity, flexibility, adaptability, assembly, disassembly, reuse, and recoverability, and considers future climate risks. It uses low-carbon, low-impact, non-toxic materials, and it recovers used resources (materials and products on-site or from other sites). It is powered by renewable energy, ensures sustainable water consumption, and enhances the well-being and safety of people. Green spaces, natural biodiversity and nature-based solutions increase resilience, well-being and social connectivity. It prioritizes sustainable and shared mobility.

The built environment highlights the connection between physical spaces and social consequences. It is the blueprint for the construction of any structure and its potential effects on the surrounding environment. Buildings contribute to over 40% of global energy-related greenhouse gas (GHG) emissions, with around 28% ascribed to building operations and 11% attributed to building materials, and use more than half of all global raw material consumption. Resulting to a negative impact and its active contribution to climate change which breeds its further consequences and greater challenges. As a result, buildings are negatively influencing the environment and actively contributing to climate change, which leads to more implications and issues.

There is no better stage for the infrastructure sector to tackle climate change and ensure long-term sustainability than at its blue print, hence the focus on sustainable built environment. Our protracted inaction on climate change has had serious consequences, and we are now in a reactive mode. Let us not be fooled into thinking that things can't get any worse. As we react to the effects that have already occurred, we must become proactive in order to rescue our future, particularly in one of the primary sectors that affects our environment.

How:

Upcycling redefined 2022 will take an open thematic experimental pedagogical approach that has been carefully designed to inspire the participants on circular design thinking, upcycle and recycling sustainable environmental practices, alchemic architecture, literature, research, documentaries, seasoned environmental mediators, and lectures sessions, as well as demonstrative practical sessions with the facilitators.

Participants will have two weeks to implement individual and collaborative projects, junking exercising, and open studio to demonstrate their process to the public, students, and other creatives around the community.

A collaborative project from sponsor partners will also be installed on sponsor's specific spaces for public consumption, Individual Artists Projects realized will be exhibited at the Transcorp Hilton Abuja, A place that brings together government officials, local and international policymakers, media, and the general public which will help to further sensitized and educate people on the importance of upcycling and its economic benefits.

 

When

Upcycling redefined is a 3 weeks intensive, open thematic practical workshop slated for January 9-30th, 2023 with a one-week exhibition opening at Transcorp Hilton, Abuja on the 30th January 2023.

CALL FOR CURATORS

The invitation to curate an exhibition at the Institut français du Nigéria is an opportunity for young and

emerging curators in FCT State to hold an exhibition during the Open House 2022 festival in Abuja and during

two weeks after the end of the festival.

The exhibition will start on the 27th of October until the 18th of November 2022 and the theme will be “Convergence”.

It is an opportunity for the curators to connect with various partners and with a large audience, as well as to promote their own work.

The curator(s) will also work with the French Institute team and Open House 2022 team to make sure the exhibition is a success. The curator(s) will be invited to participate in various Open House 2022 activities and will be considered a member of the Abuja Open House organizing team.

The Opportunity

A small grant will be given to the selected curator to help with the transportation of the exhibited artworks.

There is no grant given for the production of the artworks. The works selected and exhibited should already be produced. There are no flight tickets purchased.

The curator(s) can decide to sell the artworks exhibited. In that case, the curator(s) will be solely responsible for the selling of the exhibited work at the French Institute during the period of the 2 weeks. The curator(s) will also be responsible for dealing directly with the artist’s price of the works, shares, and commissions.

Sources of funding will be mainly made by the selling of the artworks during the two weeks exhibition at the Institut français du Nigéria and during the Open House Festival 2022.

The Institut français du Nigéria and Open House won’t take any commissions on sales.

Application Deadline: 12 September 2022

For who?

• Being age over 20 years old

• Being based in FCT State

• Either be an individual or a group of curators (maximum 3)

• Being a curator, an art entrepreneur or an art critic

Applicants will be mainly judged on:

• Their trans-disciplinarily

• Their portfolio’s design and presentation

• The proposed artists for the exhibition

• The concept of their exhibition revolving around the theme “Convergence”

How to Apply:

1) Prepare your CV

2) Prepare your curatorial project which should include:

• A short text presenting your concept for the exhibition related to the theme “Convergence”

• A list of artists that you want to include in the exhibition with pictures of their work

• Your biography(es)

3) Fill out the Google Form below and submit your documents:

https://docs.google.com/forms/d/e/1FAIpQLScPsCq2Aa69onDa_OxXJr1NLZ4PWVU8WrXhhVOisFtjMr9hqQ/viewform

For more information click the link below:

https://drive.google.com/file/d/1cqqd8f1kddWwMrSTJemFEWkxtoBjo1Hd/view?usp=sharing

Contact:

Mathilde Lepert

Cultural Program Officer, Institut français du Nigéria

cultural@institutfr-nigeria.org

The Conversation of elements like convergence of spirits

My first encounter with Ifesinachi’s new works inspired me to coin these words: “I have seen art and I have seen art works, but what Ifesinachi has done recently can be described as the consummated skill of a master, with a sense of beauty and ethnic eroticism, it is a combination of magic and art, written in a new mesmeric language; an absolutely incredible and durable mix of medium: The Liquid Metal”.

 

Beginning the journey to investigate his work process and finding a connection between his thoughts and experience as a hybrid artist with a great passion for the environment, is indeed another opportunity for meaning making, the intrigue and fascination for me lays in his process, like an ecosystem in reverse, like a blacksmith, he smiths solid aluminium into liquid caked in dynamic tablets, detailed with symmetric and geometric traditional Igbo symbols; Uli, and some contemporary wavy lines that when assembled become a composition of meaning.

 

His solo exhibition titled “Ulo Agba” explores the Igbo mud house painting and now “Nka na Uzu” A journey into Igbo ingenuity through Arts and Architecture, opening this Friday 5th March 2022 at the Centre for memories Enugu by 12:00 noon.

Nka na Uzu is Ifesinachi’s deeper conversation and romance with the red soil that is common Enugu which is the fundamental soil used by all blacksmiths. What does it mean? Where does his contemporary interpretation come from? It is this journey, this process and the phenomenon around his person and practice, that intrigues and inspires me, his larger-than-life installations of smithed silver cubes of about 3 inches, that are painstakingly put together to make a recognisable form or impression drawn from his rich traditional proverbs, folklore and experience.

 

It is a journey, because he seems to be reliving his childhood memories and freedom, hence his choice of a medium never before used to make panels; panels that echo endless symphonies when brushed over with the hand, creating an instant transportation to the village square before an Igele, the Igbo mystique masquerade.

 

Sitting in conversation with these individual panels will send endless patterns through your mind, like the magnificent movement of the Igele adorned with known fabrics concealing the unknown, but Ifesinachi’s magic is in his ability to be the chief priest as well as the spectator, something which even he might be unaware of. He leaves clues in each cube, taking you on a phantasmagorical journey. He becomes the known and the unknown and at the same time the unknown and the known. With this autonomy and the power that lays between the clay and metal - the conversation of elements like a convergence of spirits - he waves a powerful position of the smith and the painter. It is a creative journey touched by liquid, fire and earth.

 

Thank you.

 

Nduwhite Ndubuisi Ahanonu

Artists, Curator and Int’l Cultural Manager.

 

You have been given Magic! (Copy)

I used to tell my loved ones "I have been saving smiles for them", But today, May I say to you all, that I have been given magic for you.

I think some higher mysterious force, or the universe or the Giver of all Dreams is up to something lately. Something that does not belong to me.

Something higher, something like superior intelligence, it's not in the physical realm like AI, I am thinking of SA; Superior Intelligence, the kind that is beyond the subconscious. I AM AVAILABLE

So, last Sunday I moderated the conversation after screening the documentary " Satan and Adam." It was about REBIRTH, about a comeback, about when every hope is gone, it was a film as Mr. Madison Coloney, Cultural Affairs Officer at the US Embassy said, " a well-chronicled documentary."

It is a creative chronicle, a cultural chronicle, a film set against racial bias and musical stereotypes. It was about a black American musician from Mississippi and an Ivy League Graduate, from New York, who played the blues or historically the reals ( if you know what I mean) on the streets of Harlem.



The documentary takes you through the transformative power of music, and the bonds that develop when artists collaborate and worlds collide.

The title of this documentary gave me some chills when we selected it under the 2021/2022 calendar list for American Film Showcase. So, last week, when we put out the poster, people called me, some sent comments back and I was also thinking we may not have a full Hall. But, you know what? we did.

I told those who made it, that they are brave but, that is not what it's all about.

This is about what is happening to me now! It is so magical, I know the realms are shifting, orders are changing, systems are being deconstructed and paradigms are shifting, we are entering a new consciousness...spiritual awakening, and so on.

Only seekers of deep consciousness will understand, isn't it written, that the deep calleth for the deep..."Paideia."

The next day, I picked a book, a book I didn't buy from the bookshop, a book I bought like most of my (SS3)secondary school textbooks. I had tears when I picked that book on a flea market on the floor last year December because it brought back memories.

Back then in my days in Owerri Imo state, my dad had just lost his job, he didn't have enough funds to get me new textbooks for my WAEC. Creativity has always been my salvation, I apprenticed with a sign-writer on the street after school, to be able to buy old books.

There was this old man, on Douglas road by the market in Owerri, back in the early 1990s, he seemed to have all the books I needed, so you know why now.

I knew her name as soon as I saw the book, isn't it Liz Gilbert for those of us who are fond of her work, Elizabeth Gilbert, I met her first at TED. She is a famous creativity evangelist.

Picked it up, dusted it, pushed it back to shape, to a book shape, opened the book, and it was unread and clean. I think I paid less than N200 for it, dropped it at home, and totally forgot about it. Not Until Monday, when I picked it up. " BIG MAGIC", opened it, Part one Says COURAGE (”Hidden Treasure”).

I promised myself that I would read at least one theme per day, so as of yesterday, I was at Enchantment, I was already doing full speed, I find it difficult to drop as the book is already enchanting me.

And today, I opened my email to read Steven Pressfield’s “Writing Wednesdays” and there she is again "LIZ Gilbert's deal with herself" was this Wednesday's topic.

I read through the promise she made to her writing "I will never ask you to support me, I will support you".

BOOM!

Elizabeth Gilbert is the author of Eat Pray Love and other bestsellers. She’s also a deep and honourable thinker on the subject of art and the artist’s soul. When Ms. Gilbert was starting out, she famously declared, she made a deal with her writing. What she meant by this declaration to herself and for herself was that, if she had to toil as a barista, drive as an Uber driver, if she had to take a job at hooter, she would do it, she would not compromise her writing. she would not sell out her work.

And just last week, at another gathering, where a question was raised, how do the artists find a balance? Do we know why we call our new ideas, "Our Brain Child"? How then do you expect your child to support you when it is a child? you need to work this thing out, grow the act, find a balance, and take a job. You don't want to be frustrated and depressed, we are part of a real system, we need to learn to live outside our head, survive the system".

DON'T GIVE IN

And then, I read another comment from another reader Brian Nelson: “If the artists do not stay true to themselves, then the world dies”... another BOOM!

"Those of us who are not artists are mostly dependent upon the artists for our world view". He continues.

He reminds me of Robert Schumann who said, "To send light into the darkness of men's hearts - such is the duty of the artist".

Mr. Satan (Sterling Magee) from the documentary "Adam and Satan", said he adopted the name "Satan" because He can go into the darkness of his heart and bring out something amazing, and creative.

Brian went on to write; "When these views become subsumed by the culture, we get to be in places like today. Free thought is dangerous. Free expression of views is canceled and not tolerated. Truckers in Canada go from heroes to racists in a matter of weeks. Nurses are heralded until they question a shot, then they are tossed aside like trash.

Confirmation bias and numerous other cognitive restraints as well as our own capacity for evil make it impossible for us to change our minds through rational thought–the "Back Fire Effect." It is only via the Humanities, in which we willfully and momentarily open ourselves to fantasy, suspend our clingy nature to belief, that the truth of the human condition can be delivered–snuck in under the veil of fiction".

In closing Brain said, "I beg of you artists to humbly and courageously hold the line. DON'T GIVE IN. Our very survival is dependent upon it".

HERE LAYS THE MAGIC !

In the Book, "Big Magic" Liz talked about an idea that left her, not just that the idea left her, but that the idea went to her best friend Ann Patchett.

(Man, you should go find that book and read it).

Scientifically, it is called Multiply Discovery. When an idea comes to different people at the same time, who live in different part of the world and have never met before.

I love how Janos Bolyai the Hungarian Mathematician who invented non-Euclidean geometry, put it. "When the time is ripe for certain things, they appear at different places in the manner of violets, coming to light in early spring."

I love spring a lot, it is like Paideia of Nature, Spring is rebirth for me, it is like adding a lot of green to burnt sienna on my palette, it is violets trying to come to light, it is electrified magic.

But, why would Brain beg the artist to humbly and courageously hold the line? "Hold the Line.'' This phrase is used only as a last measure on a helpless and hopeful or even hopeless situation mostly in war fronts.

Are we at war? and with who or against who?

Like Cornel west would say, are we at war with spiritual malnutrition and moral constipation?

Or, as Socratic will say, "Man know thyself". May I say "Artist know thyself"?

If as an artist, you are yet to read the letter to the artist by Late Pope John Paul ll, Please go ahead and find that letter now, google it and read it. Then, you will understand the next line " Don’t give Up, Our very survival depends upon it".

Again, he used the word "it'' It means there is something in you the world is waiting for.

It is beyond you,

It belongs to the universe, you are just a vessel, let it through or, in time, it will go through you.

Mr. Sterling ( Satan) was raw, true, and real, and also do not forget that the true name for the blues was the "reals". He was real to the music that was given to him, he didn't do it for stardom, money, or fame, he did that for us.

Epicurus said, “If you shape your life according to nature, you will never be poor if according to people’s opinions, you will never be rich.”.

IS MAGIC FLEETING?

So, before my magic finds another vessel, may I say again, "I have been given magic for you".

And I will BIRTH my magic.

Do not forget, like all things of this great world, it doesn't belong to you.

BIRTH your MAGIC!

Nduwhite Ndubuisi A (c)2022

Artist, Curator and Co-Founder IICD-Center, Abuja

International Cultural Manager.

You have been given Magic!

I used to tell my loved ones "I have been saving smiles for them", But today, May I say to you all, that I have been given magic for you.

I think some higher mysterious force, or the universe or the Giver of all Dreams is up to something lately. Something that does not belong to me.

Something higher, something like superior intelligence, it's not in the physical realm like AI, I am thinking of SA; Superior Intelligence, the kind that is beyond the subconscious. I AM AVAILABLE

So, last Sunday I moderated the conversation after screening the documentary " Satan and Adam." It was about REBIRTH, about a comeback, about when every hope is gone, it was a film as Mr. Madison Coloney, Cultural Affairs Officer at the US Embassy said, " a well-chronicled documentary."

It is a creative chronicle, a cultural chronicle, a film set against racial bias and musical stereotypes. It was about a black American musician from Mississippi and an Ivy League Graduate, from New York, who played the blues or historically the reals ( if you know what I mean) on the streets of Harlem.



The documentary takes you through the transformative power of music, and the bonds that develop when artists collaborate and worlds collide.

The title of this documentary gave me some chills when we selected it under the 2021/2022 calendar list for American Film Showcase. So, last week, when we put out the poster, people called me, some sent comments back and I was also thinking we may not have a full Hall. But, you know what? we did.

I told those who made it, that they are brave but, that is not what it's all about.

This is about what is happening to me now! It is so magical, I know the realms are shifting, orders are changing, systems are being deconstructed and paradigms are shifting, we are entering a new consciousness...spiritual awakening, and so on.

Only seekers of deep consciousness will understand, isn't it written, that the deep calleth for the deep..."Paideia."

The next day, I picked a book, a book I didn't buy from the bookshop, a book I bought like most of my (SS3)secondary school textbooks. I had tears when I picked that book on a flea market on the floor last year December because it brought back memories.

Back then in my days in Owerri Imo state, my dad had just lost his job, he didn't have enough funds to get me new textbooks for my WAEC. Creativity has always been my salvation, I apprenticed with a sign-writer on the street after school, to be able to buy old books.

There was this old man, on Douglas road by the market in Owerri, back in the early 1990s, he seemed to have all the books I needed, so you know why now.

I knew her name as soon as I saw the book, isn't it Liz Gilbert for those of us who are fond of her work, Elizabeth Gilbert, I met her first at TED. She is a famous creativity evangelist.

Picked it up, dusted it, pushed it back to shape, to a book shape, opened the book, and it was unread and clean. I think I paid less than N200 for it, dropped it at home, and totally forgot about it. Not Until Monday, when I picked it up. " BIG MAGIC", opened it, Part one Says COURAGE (”Hidden Treasure”).

I promised myself that I would read at least one theme per day, so as of yesterday, I was at Enchantment, I was already doing full speed, I find it difficult to drop as the book is already enchanting me.

And today, I opened my email to read Steven Pressfield’s “Writing Wednesdays” and there she is again "LIZ Gilbert's deal with herself" was this Wednesday's topic.

I read through the promise she made to her writing "I will never ask you to support me, I will support you".

BOOM!

Elizabeth Gilbert is the author of Eat Pray Love and other bestsellers. She’s also a deep and honourable thinker on the subject of art and the artist’s soul. When Ms. Gilbert was starting out, she famously declared, she made a deal with her writing. What she meant by this declaration to herself and for herself was that, if she had to toil as a barista, drive as an Uber driver, if she had to take a job at hooter, she would do it, she would not compromise her writing. she would not sell out her work.

And just last week, at another gathering, where a question was raised, how do the artists find a balance? Do we know why we call our new ideas, "Our Brain Child"? How then do you expect your child to support you when it is a child? you need to work this thing out, grow the act, find a balance, and take a job. You don't want to be frustrated and depressed, we are part of a real system, we need to learn to live outside our head, survive the system".

DON'T GIVE IN

And then, I read another comment from another reader Brian Nelson: “If the artists do not stay true to themselves, then the world dies”... another BOOM!

"Those of us who are not artists are mostly dependent upon the artists for our world view". He continues.

He reminds me of Robert Schumann who said, "To send light into the darkness of men's hearts - such is the duty of the artist".

Mr. Satan (Sterling Magee) from the documentary "Adam and Satan", said he adopted the name "Satan" because He can go into the darkness of his heart and bring out something amazing, and creative.

Brian went on to write; "When these views become subsumed by the culture, we get to be in places like today. Free thought is dangerous. Free expression of views is canceled and not tolerated. Truckers in Canada go from heroes to racists in a matter of weeks. Nurses are heralded until they question a shot, then they are tossed aside like trash.

Confirmation bias and numerous other cognitive restraints as well as our own capacity for evil make it impossible for us to change our minds through rational thought–the "Back Fire Effect." It is only via the Humanities, in which we willfully and momentarily open ourselves to fantasy, suspend our clingy nature to belief, that the truth of the human condition can be delivered–snuck in under the veil of fiction".

In closing Brain said, "I beg of you artists to humbly and courageously hold the line. DON'T GIVE IN. Our very survival is dependent upon it".

HERE LAYS THE MAGIC !

In the Book, "Big Magic" Liz talked about an idea that left her, not just that the idea left her, but that the idea went to her best friend Ann Patchett.

(Man, you should go find that book and read it).

Scientifically, it is called Multiply Discovery. When an idea comes to different people at the same time, who live in different part of the world and have never met before.

I love how Janos Bolyai the Hungarian Mathematician who invented non-Euclidean geometry, put it. "When the time is ripe for certain things, they appear at different places in the manner of violets, coming to light in early spring."

I love spring a lot, it is like Paideia of Nature, Spring is rebirth for me, it is like adding a lot of green to burnt sienna on my palette, it is violets trying to come to light, it is electrified magic.

But, why would Brain beg the artist to humbly and courageously hold the line? "Hold the Line.'' This phrase is used only as a last measure on a helpless and hopeful or even hopeless situation mostly in war fronts.

Are we at war? and with who or against who?

Like Cornel west would say, are we at war with spiritual malnutrition and moral constipation?

Or, as Socratic will say, "Man know thyself". May I say "Artist know thyself"?

If as an artist, you are yet to read the letter to the artist by Late Pope John Paul ll, Please go ahead and find that letter now, google it and read it. Then, you will understand the next line " Don’t give Up, Our very survival depends upon it".

Again, he used the word "it'' It means there is something in you the world is waiting for.

It is beyond you,

It belongs to the universe, you are just a vessel, let it through or, in time, it will go through you.

Mr. Sterling ( Satan) was raw, true, and real, and also do not forget that the true name for the blues was the "reals". He was real to the music that was given to him, he didn't do it for stardom, money, or fame, he did that for us.

Epicurus said, “If you shape your life according to nature, you will never be poor if according to people’s opinions, you will never be rich.”.

IS MAGIC FLEETING?

So, before my magic finds another vessel, may I say again, "I have been given magic for you".

And I will BIRTH my magic.

Do not forget, like all things of this great world, it doesn't belong to you.

BIRTH your MAGIC!

Nduwhite Ndubuisi A (c)2022

Artist, Curator and Co-Founder IICD-Center, Abuja

International Cultural Manager.

UPCYCLING REDEFINED 2021 ALUMNUS WINS ANAMBRA STATE INNOVATOR OF THE YEAR.

Stanley Anigbogu is an exceptional creative. He plies his creative path on the idea of providing simple practical solutions to everyday human needs and challenges on a global scale. He was a participant at the IICDCenter’s Upcycling Redefined Workshop 2021, funded by the US Embassy Abuja in partnerships with Transcorp Hilton Hotel Abuja and Skill ‘G’ Innovation Hub. He speaks with our media team on his experience at the workshop and his recent award as the Innovator of the Year at the Anambra Man of the Year Award.

 

Who is Stanley Anigbogu?

 

Stanley Anigbogu is a 22-year-old Nigerian creative technologist from Amichi Nnewi in the state of Anambra. The Federal Government of Nigeria has designated him as a scholar with a BSc in Multimedia Development from Ensa Kenitra Morocco.

 

You have recently been named Innovator of the Year at the Anambra Man of the Year Award. How do you feel?

 

Being nominated for Young Innovator of the Year is an incredible honor. Having my efforts and work recognized at such a high level means a lot for me and my team, it is extremely inspiring and powerful.

 

Can you share an insight into your journey as an innovator?  

 

As a young innovator in Nigeria, I faced numerous obstacles including a lack of funding, resources, and networks. This didn't deter me. I kept pushing and crossing my own limitations with what I had on hand, which enabled me to become more creative and resilient. I am are going to use everything I have learned to help the next generation of innovators by giving them access to tools and resources so they can work on their own ideas with ease.

 

Can you share your experience at the IICDCENTER’s Upcycling Redefined Workshop held in September, 2021?  

 

I would say that attending the IICDCenter’s Upcycling Redefined Workshop was one of my highlights for 2021 because I was exposed to a new universe of possibilities on how art and science can come together to generate new possibilities and ways of upcycling garbage.

 

How has the experience impacted your journey as an innovator?

 

Working with waste materials has always been a favorite of mine since I began my career as an innovator. But, the workshop was unique in that I collaborated with artists from various backgrounds. It was incredibly inspiring, and I was able to discover new ways to use waste materials to create solutions while still maintaining an artistic touch.

 

Do you think the experience at the Upcycling Redefined Workshop provides innovators and artists like yourself with skills requisite to meet emerging challenges within the creative economy in Nigeria and Africa?

 

The Workshop is an incredible opportunity for innovators and artists to collaborate on creative projects in one space. It is the best ground for collaborations and networking. The facilitation is also a fantastic way for young artists and innovators to learn from experienced hands from various fields in the industry who have a lot of experience and expertise to share.

 

What inspires you to create?

 

I am a problem solver. My ideas and projects are always laser - focused on fixing problems in the world around me. This motivates me to go to my board or into the workshop. I was raised in a culture where there is a problem around every corner, which inspires me to create, solving one problem at a time with my creative solutions.

 

Any advice for upcoming young innovators?

 

Don’t be afraid to show the world what you are capable of. Everyone is unique, but those who share their uniqueness with the world are incredibly uncommon. Dear young creative, be rare and solve as many problems as you can.

My experience so far has been amazing!

"I was so excited when I got selected for the upcycling redefined program. My experience so far has been amazing. I arrived at the accommodation provided for the participant. The arrangements made were awesome and welcoming. I met my fellow participants who shared their stories and projects. After meeting and socializing with them I was truly inspired by the quality of their works and the passion they have.

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We have been having classes with expert artists who shared their stories alongside with Q/A session that allowed me to gain more insights in addition to the series of workshops on climate change, 3D printing, and creating art with intention.

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I am super excited to start working on my projects and seeing the ideas and projects my fellow participants would come up with. I am really grateful for this opportunity and will be looking towards making the best from it while growing my network and learning."

– Stanley Anigbogu, participant, Upcycling Workshop 2021

AS UPCYCLING WORKSHOP RETURNS.

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The city of Abuja is about to experience a refreshing bath of technological and artistic musings. A contemplation of thoughts forged with fabrics of the UN 2030 Agenda as the Upcycling Workshop returns this August.  

With the theme of Upcycling Redefined, this year’s Upcycling Workshop will focus on material hybridization, co-creating and fusion of technology with an ambitious dive into the intrigues of circular economy.

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Upcycling redefined, will introduced participants to the practice of material hybridization: a practice of interplaying non aligning materials, materials that are chemically incompatible, like metal and plastic, with the interplay of 3D Machine a model’s hand can be printed and fused with connectors, thereby creating a hybrid art piece.

It will also highlight circular design approach, an approach that consider material end use from inception, an opportunity to understanding material relationship, durability and chemical components.

 

Fifteen artists drawn from various stage of environmental art practice and selected from the pool of applications to the Open Call will meet for lectures and work during the 21-day workshop intensive, open thematic practical workshop scheduled to hold from the 24th of August to the 14th of September, 2021.

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Activities will include junking, artist talk, an open house, gallery tour, AFS Screening, two weeks production and one-week exhibition at the Transcorp Hilton Hotel, Abuja. Lectures and production hold at Skills – G Innovation Limited, Abuja.

A high-powered team of facilitators have been selected for the workshop –  Tantua Diseye, Steve Ekpenisi, Afam Nnamani, Philips Nzekwe, Shira Lane of the Atrium – Creative Innovation Center for Sustainability, Sacramento, California, USA and Nduwhite Ndubuisi Ahanonu, Founder IICD Center, Abuja.

The Upcycling Workshop is made possible by funds from the US Embassy Abuja and Supports from the Transcorp Hilton Abuja, it is designed and managed by the International Institute for Creative Development (IICDCENTER), Abuja.

Thanks.

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GOING SOUTH

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“Art is a gift of loneliness,” said the Abatete-born octogenarian who is a painter and art historian with a teaching career that spans almost half a century responding to a question about his journey as an artist. The air of excitement warmed by a deep desire to share that hit our faces as we arrived his office at the visual arts department of the Cross Rivers State University of Technology (CRUTECH), Calabar, continued in endless stream throughout the interview.

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The scene was akin to the site of a volcanic eruption with magma flowing endlessly free of the wedges of nature. Art history has been his specialty since completing his masters studies at the Ahmadu Bello University, Zaria, in 1974. He was there with the ‘Zaria Rebels,’ an appellation that some scholars have frowned at because of what they believe is its misrepresentation of the aim of the Zaria Art Society members and may have been a colonial construct to label them as renegades.

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This group it is widely believed had sown the seed for what is known as contemporary Nigerian art. However, Professor Aniakor, who sat quietly on a chair in the corridor in front of his office does not entirely agree with the narrative. He posits that the approach to studies on the Zaria Art Society has become less theoretical and dangerously leading to the proliferation of wrong data. Art history, according to him, is “evidential,” stressing the need to interview the main actors, some of whom are deceased, and source information from contemporaries who may or may not be in Zaria at the time. He also disclosed his work in Uli art stating that the art was a form of writing and that the Uli artists were communicating, “recording environment, people and experience.” The Uli artists he said were, “conscious adepts who knew what they were doing.” He also spoke about his work on a study of the serpentine writing among the Igbo and certain tribes of the old eastern region.

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 Asserting that, “there is no reality anywhere,” he took our minds back to Aba where we had interviewed Mr. Tony Akudinobi a day earlier. Defining beauty, Mr. Tony Akudinobi whose company, Hammer Head Limited, produces wooden chairs with beautiful carvings of traditional African motifs and symbols, said, “. . . an object shinning in interactive light losing physicality ascending in inexplicable magnitudes to be beautiful.” This, he assures, is his philosophy. His Ethnika designs have featured in major exhibitions both locally and internationally including the Dubai Art Week. Mr. Tony Akudinobi epitomizes a nexus of genres with his unique style of rendering his works. Each chair has what he calls “verbals,” usually a poem, which he described as  “consecration to the visuals,” that relays the main idea of the work.

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Dr. Hyacinth Chidozie Ngumah did not hide his displeasure with the Zaria Rebel tag for the Zaria Arts Society members. He described it as derogatory recalling how his mentor, late Dr. Felix Ekeada would hesitantly reprimand anyone who used the appellation around him. According to him, Dr. Felix Ekeada believed that the phrase was coined with the intention to mislead by creating misconceptions in the mind of the public of the true intent of the art movement pioneered by the Zaria Art Society at the time. Organically convened in 1958 on the idea of natural synthesis proposed by late Prof. Uche Okeke who has been variously described as the founder of the group, the Zaria Art Society sought to free African artistic tradition and ideas from the strangling grip of western artistic influence.

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 Enugu waited with all its misty glory across the ridge of hills that line its corridor as we returned our luggage to the boot of the Pathfinder, the SUV that was our worthy chariot during the ten days study tour. The cold replayed scenes of Abuja mornings – their enveloping chills and the busy humanity that resonate behind clothes in shivery mold. We arrived in Enugu in good time to drive down to Abakpa to see Gentleman Chief Mike Ejeagha, Nigeria’s foremost folklore musician. However, the interview could not hold until two days later. But, between the hours of our arrival and his interview, we met two remarkable artists – a professor and a poet.

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 Professor Chuu Krydz Ikwuemesi sat behind a desk at his art gallery on Zik’s Avenue burning with bright colours of youth. The desk had carved him a buffer away from the upcycled metal work in the middle of the room. The Uli inscriptions on a board at the far right end of the room called tales of the original Uli artists whose work he believes were more than writing but a form of decoration from their graves. His views the inclusion of Uli art in his works as a means of communicating with the past describing it as an idiolect. Referring to Professor Aniakor’s pioneering role in the study of Uli art, he said that Professor Aniakor can best be described as the ‘megaphone of the Uli philosophy.’ He expressed his concern for the dearth of scholarly depth in the practice of art history in Nigeria stating that the problem with scholarship is the lack of proper training of students in the art of communicating their thoughts. Students so trained eventually graduate to become art historians who are not ‘real communicators of artistic thoughts.’ He emphasized the need therefore for teachers and students to pay attention to teaching and learning the art of writing respectively. Reiterating, he said that each scholarly article for instance must be well researched and should be properly communicated so as to withstand the darts of debate and criticism by other scholars. On his relationship with late Professor Uche Okeke, he described himself as a great grandson of Professor Uche Okeke stating that he had not met the don as a direct mentor but had trained under other scholars who grew under his tutelage. Speaking on his philosophy, he said that a fine artist should be able to express himself in a wide range of ways in order to reach a wider varied audience. In a manner reminiscent of an artistic ideological collusion, probably fermented prior to our visit to Zik’s Avenue and Emene that day, Amarachi Atama began on a similar note.

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 Still in recovery from a recent bereavement, she found her voice as she unwrapped her journey sitting on a chair in her artsy living room where Nsibidi called our eyes to their meanings in framed portraits on the wall. The Enugu state-born performance poet who holds a masters degree in mass communication and worked as a presenter with the Enugu State Broadcasting Service (ESBS), is also the Executive Director of Nwadioramma Concepts and the founder of Oja Cultural Festival. Her foray into the rarely traveled path of Igbo poetry was inspired by the realization of a threat of extinction to the Igbo language. A journey that has all the markings of a tough trip. Today, she is one of the biggest names in the genre with perhaps has the largest collection of laurels. Her greatest achievement, she says, is the promotion of the Igbo language and poetry through performances at locations outside Nigeria.

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About fourteen hours later, we were seated at the home of Gentleman Chief Mike Ejeagha, the nonagenarian whose music can be described as a museum of Igbo ideological thought. This time to interview him. From an early exposure to storytelling sitting at the feet of his mother under the rain of moonlight like his peers in Igbo land to his days growing up at Coal Camp, Enugu, to his admiration of Patrick Okwunazu’s music which was story-based, he recounted his journey. His philosophy is founded on “live and let live,” a major ideological base of the Igbo people which  encourages good relations between neighbours. He took us further into his journey dropping lessons into our young minds from his grey hair. We admired his honesty and his brisk sense of detail. By the time we emerged from the stairs, we felt the weight on our feet. It was of the desire to listen for more wisdom from this man whose life has brightened ours in nearly two hours of sincere disclosure.

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As we drove out of Enugu the next morning, we felt a heavy load in our hearts. No, it was not pain or the lusty dance of anguish. It was a feeling of fulfilment that an assignment has been done. Though there were challenges and appointments we could not make due to COVID-19, our desire to seek authentic information for our work following a “marching order” from the consortium of experts at our Zoom pally in December, had been met by a few laps. As an art institution, we believe in the gathering and dissemination of valid verifiable data for the purposes of study. This is the reason we embarked on this tiring but, enriching journey to some south east and south south states to meet real actors in the Nigerian art scene for a soul trip. Though Professor Aniakor has said in that his landmark declaration that, “there is no reality anywhere,” we shall journey again. And maybe, we will find it. This was the feeling we had when we arrived at City Gate. We took a deep breath of home knowing that home was still somewhere out there beyond the hills and valleys of the molten distance that reassembled behind us. Yes, we have gone south.

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Agu, Prince Osinayah (happyprince),

Project Assistant.

IICDCENTER, Abuja.

Note: Sculpture by Late Dr. Ekeada, Title: UNITY, Year: 1984.

This project is made possible by Funds from EUNIC clusters of Abuja and Lagos (now EUNIC cluster Nigeria).

When Plato, a Spartan and a Face Mask walked into a Bar.

When Pluto, a Spartan, and a Face Mask walked into a Bar:

 Will we leave here a better person began Plato?

The Spartan: I walked in here as a Spartan and I am not sure I will leave here different than I walked in?

Don’t give me that stare said the Face Mask.

Then I interrupted, but with a near end of the world experience like what we have today?

Then Plato in his usual aristocratic eudaemonistic gaze, winked and took a long drink.

He turned and asked me if I know Thomas Hobbes “Leviathan” where he wrote about the “nature of man” in 1651.

With a wide bewilderment I nodded No!

Then he began:

“In such condition, there is no place for industry; because the fruit thereof is uncertain: and consequently no culture of the earth; no navigation, nor use of the commodities that may be imported by sea; no commodious building; no instruments of moving, and removing, such things as require much force; no knowledge of the face of the earth; no account of time; no arts; no letters; no society; and which is worst of all, continual fear, and danger of violent death; and the life of man, solitary, poor, nasty, brutish, and short”.

We could all hear the stridulating cricket outside.

The Spartan slowly moved his shield closer to himself, stood up and gave us all a reassuring nod and walked away. “I got this he said”

Then I turned and saw his Helmet, How about this man?

He turned, looked us over again and turned towards the old familiar door and took some composed staggered steps forward looked over his shoulder and screamed as he walks away, “Mama said; “Come back with your shield or come back on it”

The Face Mask became uncomfortable, gave a suspicious look, and took another Ale.

Then it all came together:

In all of Plato’s work on earth, he was not able to enlighten men that much, neither has the primal instinct of man changed that much, we just transform and evolve with civilizations.

So in conclusion: if before the lockdown you are not nice, you will not come out a nice person except you make a conscious effort in doing so, But if you are a good person you will come out maybe the same or worst depends on which of your wolf you feed, how else can I explain all the madness going on today.

And this worried me.

I became drunk of my self sorrows, the imbecilic nature of things, the uncertainties and global depression, the pain of lonely deaths, the nameless days and long hours of silence and the thinking and the dreaming and sleeping and waking up.

Then I seek to speak to Plato about his work “The allegory of the cave”

Of subjects and objects, of realities and shadows, of what is given and what is not, of masters and servants, of tyranny and perceptions and constructed and deconstructed narratives.

He moved closer to me, I could smell his age, his wisdom and intelligence, he looked me in the eyes, I saw pity, I saw compassion and empathy, but for who?

He said that is all we need as humans.

How did he mean, How would he have known I noticed?

Then he smiled again and pointed me to a dragonfly rustling over the old lamp, “old skins are made new in birth” he said.

He told me about darkness and light, for we all from the old darkness, some of us went towards the light in birth, some fight towards the lesser light and some just embraced the shadows; the darkness. It is a binary, it’s “exnihilo” he added.

We are all from the same old womb, all mankind was formed in darkness (the womb), and some choose differently and became higher light, while others became lesser light.

And like the Spartan he reminded me if we could hold our shields up like in a phalanx for each other, we will win the battle, but if one of us drops his shield we will repeat the cycle: death and birth, birth, and death.

Then I looked up, turned to the Face Mask, he felt distant like a ghost, he nodded in affirmation: do not unmask the masquerades, hence you will all be social ghosts.

Slowly I took my last drink turned and woke up.

 Nduwhite Ndubuisi Ahanonu

Artist, Curator and Cultural Art Manager.

Co-Founder IICD-Center, Abuja

ABUJA OPEN HOUSE PARTICIPATING GALLERIES/SPACE AND ASSOCIATE BODIES

We have invited a select group of galleries/spaces and associate bodies in Abuja and we are excited to have you on bound as one of the leading contemporary art space in Abuja. This year's theme is “Mapping Trajectories” with an opening Conference at the Exhibition Pavilion CBD Garki Abuja on Friday 25th by 10:00 am. Registration to Attend the Opening Ceremony will be open Early October 2019.

For more information visit: www. abujaopenhouse.com www. iicdcenter.org

Follow us on Facebook: https://www.facebook.com/abujaopen.house

Instagram:https://www.instagram.com/abujaopenho...

Diary of an Alchemist...a solo exhibition of Samuel Onyilo

The power of an art to incite argument is often the best proof of its value, My personal belief in the sincerity of the works of Samuel Onyilo and the future of his ideas to elicits dialogue and his practice of dealing with the synthesis of the mundane and the eternal inspires and engages me on a personal level.

Sam is an artist that is not entirely devoid of the influence of technology but rather he works from digested personal experiences. He has a reasonable development of what we regard as serious art or artist; it is evident that he is no adventurer striving for momentary notoriety, considering the strangeness of his beliefs and philosophy. In one of my conversations with him, he told me, He will never paint a Rose just to adore a wall, but rather you will bow to the divine reality in a petal of a Rose.

Such in-depth conviction in an age where everything is almost in production line, where with neural network system, a with a programme called magenta Computers can paint.

 

In the book “art and spirituality” by kandasky wassily:

Kandesky wrote…“Just as art is looking for help from the primitives, so are men turning to half-forgotten times in order to get help from their half- forgotten methods.” Speaking of the present digital age of artificial intelligence and robotics and virtual realities and augmented realities and the internet of all most everything..

 Alchemy or the art of alchemy in this age seem to echo the above quote of Kandinsky of half-forgotten methods…a recent exhibition at Getty Research Institute in 2017, concluded…The art of Alchemy as…

 “Long shrouded in secrecy, alchemy is now recognized as the ancestor of modern chemistry. Alchemists were notorious for attempting to make synthetic gold, but their goals were far more ambitious: to transform and bend nature to the will of an industrious human imagination. For scientists, philosophers, and artists alike, alchemy seemed to hold the key to unlocking the secrets of creation. Alchemists’ efforts to discover the way the world is made have had an enduring impact on artistic practice and expression around the globe. Inventions born from alchemical laboratories include metal alloys for sculpture and ornament, oil paints, effects in glass making, and even the chemical baths of photography. The mysterious art of alchemy transformed visual culture from antiquity to the Industrial Age, and its legacy still permeates the world we make today”.

 

He calls this latest creative adventure “Iconic Metaphor”

Iconic Metaphor” are opposite’s that permeate life and that has intrigued him for a very long time. He responds to beauty as a homo-aesthetic being, haunted by beauty and the bizarre, an artist driven by empathy and moved by the gory sight that a degenerated humanity litters on the landscape of modern time.

 In one of his works (“The Giant Pygmy under the shadow of modernity and achievement“) he questions civilization and modernity, like a still born, pregnant in the alter of hypocrisy in a matrimony of shame. He describes any modern man who feels above himself as a pygmy in his canvas, he plays out his deep digested experiences as he manipulates elemental forces like fire, air and water to question our today society.

 

He approaches his material like Alchemy in search of meaning and form.  He believes that an “artist must have something to say, for mastery over form is not his goal but rather the adapting of form to its inner meaning.” ( Kandinsky Wassily).

Samuel makes the rules for his materials, he is a modern master of alchemic elements, he transforms and transmutes materials to obedience, a commander of forms, in working with burnt woods he sees faces locked inside the charcoal like Michelangelo saw a David in the marble.

 

 

One of the things this exhibition tends to questions is the privileges that science avails us at a particular time, he believes that facts and realities are subjective, it depends on what you know at a particular time; for example; we were told that an Atom is an indivisible part of an element and in less than 20 years, science told us again that it is divisible.

 

I love to refer you once again to a predictive conclusion of some early past ; "If the science of the day before yesterday is rejected by the people of yesterday, and that of yesterday by us of today, is it not possible that what we call science now will be rejected by the men of tomorrow?" And the bravest of them answer, "It is possible."

So in what we call modernity, despite all our patent and well-ordered security, despite our infallible principles, lurks some higher segments of a hidden fear, a nervous trembling, and a sense of modern insecurity.

 

If every work of art is the child of its age and, in many cases, the mother of our emotions, then the works of Samuel Onyilo belongs to the new hybrid professional artist we have seen rise in the past 10 years, artist who work not only in their studios or for themselves, but most frequently for our shared humanity and around modern global issues. Artist who work not out of economic necessity, but out of a deep organic conviction that the work she or he is called to do must have some sort of relevance and meaning, artist who are answering the global call of Socrates’ Man know thyself’

 Modern artists are beginning to realize their social duties. They are the spiritual teachers of the world, and for their teaching to have weight, it must be comprehensible. And this is the attempt of this exhibition, as I seek to bring the artist and the public into sympathy, to enable the latter to understand the ideals of the former. For like Andrenne Rich said in “Dreams of a language’ “ we are out in a country that has no language, no laws Whatever we do together is pure invention. The maps they gave us are out of date by years."

 I see this country today in Samuel Onyilo’s Canvas.

 

Thank you!

 Nduwite Ndubuisi Ahanonu ( Curator)

AFS FILM LAUNCH, 18TH NOVEMBER, 2018 IICDCENTER

Yes we are back guys!

Back with more activities and features for you. We have carefully selected 24 Films for one year just for you. So it means no stopping and no breaking...it is a guaranteed civil and cultural interaction for 1 Year. So join us this Sunday the 18th of November, 2019 by 5:30pm as we launch the one year calendar starting with 3 short films with plenty to drink , Fun and networking 🍷, with special guest appearance by

Deji Ige (Poet),

Bobby Haruna (Contemporary Dance Artist)

Emil Biobelemoye H.G. (Film Maker).

#IICD-#Center # 4 Oguda Close Off Lake Chad Crescent Maitama . Abuja and IT IS FREE! Cocktail provided by U.S. Embassy Abuja

MOSQUITO: THE BITE OF PASSAGE

Filmmakers: Brian Vincent Rhodes, Eric Cheng


AFS Representative: Brian Vincent Rhodes (Co-Writer, Co-Director)

Run-time: 7 min

Synopsis: When legendary warrior mosquito Soma and her daughter Aliye go hunting together for the first time in slumbering George’s apartment, Aliye realizes that she does not want to follow their family’s ageless tradition of hunting for blood. When George wakes unexpectedly, the two have to make a break to escape with their lives, while also trying to repair the biggest rift their family has ever had.

 RANS LANTING: THE EVOLUTION OF LIFE

Filmmaker: Steven Kochones

Run-time: 23 min

This documentary brings National Geographic photographer Frans Lanting’s epic “LIFE” project to the big screen, taking viewers on a fascinating journey through time via dazzling images depicting life on Earth— from the Big Bang to the present. The film also recounts Lanting’s own evolution from natural history photographer to visual chronicler of life on the planet.

The film features stunning images from Lanting’s vast photographic archive as well as new images shot specifically for the film. Supported by interviews with Lanting and long-time collaborator Christine Eckstrom, the film promotes an understanding of Earth’s natural history while instilling a sense of wonder about our living world.

Also appearing in the film are experts in the fields of biology, geology, and planetary science, including pioneering sociobiologist E.O. Wilson, evolutionary biologist Andrew Knoll, NASA/JPL astrobiologist Abigail Allwood, and primatologist Russell Mittermeier, among others.

Earth’s most compelling locations serve as the backdrop, including the shores of Delaware Bay where Lanting’s inspiration for LIFE began. The film also takes viewers to Hawaii’s volcanic Mount Kilauea, New Zealand, the coastal dunes of Namibia, and Santa Cruz, California, allowing viewers to experience Lanting and Eckstrom’s approach to working in diverse natural environments.

 

ALL-AMERICAN FAMILY

 Filmmaker: Andrew Jenks

Run-time: 12 min

 Welcome to Pleasanton, California. In the Bay Area, this affluent suburban town is quintessential USA: restaurants on Main Street, American flags omnipresent, and a high school football team that everyone cherishes: The Eagles. For four generations, one family has been at the center of it all: the Pedersens. As the final two in the family to attend the school, the pressure is on for Zane (the quarterback) and his younger brother, Jax (the running back) to lead the team to another title. What makes the Pedersens unique is that they are all deaf. In fact, Pleasanton is a town with over 200 deaf people. The school they go to is the California School for the Deaf, and their football team is all deaf. Ultimately, this is not a story about football, or even a story about being deaf. It is a story about a family that, despite not being able to hear, wouldn’t want it any other way.

UPCYCLING, THE NEW ECONOMY (12 DAYS WORKSHOP)

UPCYCLING, THE NEW ECONOMY: 22nd April -3rd May 2018 @ IICDCENTER, ABUJA.

As Francis Crick pointed out in Molecules and Men, life likes to grow, take advantage of the free energy of the sun, and operate in an open metabolism of chemicals for the benefit of organisms and their reproduction. Life seeks more of itself, wastes nothing and engages fruitfully with its surroundings. Flows and metabolisms create recurrent wealth from solar income: oxygen-rich air, fertile soil, clean water, photosynthetic growth, food and energy…like a symbiotic ecosystem by design, the Earth upcycles itself naturally.

Economically, upcycling transforms conventional notions of growth and productivity, generating recurrent energy and material capital formation and flow, seeking continuous improvement and regenerative, beneficial interactions with the world, creating economic growth through principled innovations, innovative designs that support and keep valuable materials in continuous use and reuse cycles.

The proposed Upcycling workshop is aimed at empowering young creative as a major alternative to recycling in the sense that it adopts five dimension; the need to empower economically, reduce our footprints and waste landfill footprint, coupled with the ever-present need to safeguard our environment in the face of developmental challenges and promote a new way of thinking about the consummation products.

With the support of the American Embassy in Abuja, Eleven Artists from across Nigeria have been selected to participate in the workshop, the core driver of which is sustainability. These artists who produce environmentally-related/conscious art has been invited to work, discuss and have a hybrid section with other professionals who are working on environmental related disciplines ranging from renewable energy, architecture, furniture designers and smart architecture.

Each participant would be required to produce new two works at the end of the workshop, a joint installation piece would also be created and installed in an open space or any space deemed fitting/suitable,  to encourage more participation and achieve a wider audience.

A two-day talk shop would be organized at the Center, relevant persons, working or specialized in the field of environment will be invited, we will also have present artists, students, public and the media to cover a broad social demography of Abuja,

During the workshop on April 28, 2018, we will also have an Open Studio targeted at young people from a wide range of backgrounds, Students, Artists and the general public will meet with the artists at work, demonstrating their process, in a bid to help reveal alternative ways that industrialization and the attainment of developmental goals can be achieved in a sustainable creative manner."

The Selected Artists are: Paula Mallam (F) Abuja, Bilkisu Garba (F) Abuja, Uzoma Samuel Anyanwu ( M) Lagos, Imo Chigboromogu ( M) Abuja, Izuu Mouneme (M) Enugu, Ifedilichukwu Chibuike (M) Anambra, Fatai Abdukareem Babatunde (M), Nzekwe Philips (M) Delta, Pricilla Uzero(F) Abuja, Owoyeim Taiwo (M) Lagos and Steve Ekpenisi (M) Lagos.

To facilitate the workshop, we have Dr. Victor Fadeke, Hubert H. Humphery/ Ashoka Fellow, Dr. Chukwuemeka Nwigwe, PhD, PGDE, MFA, BA, Artist, scholar and lecturer and currently teach Textile, Fashion Design and Art History courses at the Department of Fine and Applied Arts, University of Nigeria, Nsukka, Enugu, Nduwhite Ndubuisi Ahanonu, Founder/ Curator, International Institute for Creative Development, Abuja. Ifesinachi C. Nwanyanwu, Curator House 33 and founder, One Environment Abuja, Dotun Poopola (renowned Sculptor and Artist) and Dada A. Oluwasuen (Sculptor and renowned Artist) Universal Studio Lagos.

The Opening ceremony of the works realized during the workshop will be opened on the 3rd, 2018 at the IICDCENTER (International Institute for Creative Development Abuja) by 5.00pm.

Thanks,

Osi Otsemobor.

For: IICDCENTER MANAGEMENT.

 

 

OPEN CALL...Curatorial Practice Workshop

Call for application: CURATORIAL PRACTICE WORKSHOP

For apply: Visit http://www.institutfrancais-nigeria.com/

WORKSHOP

The facilitator:  the French curator Julie Crenn (https://crennjulie.com/)

The number of participants: 8/10 persons

Language: English

The workshop is open to Nigerian and international curators

PARTICIPANTS PROFILE AND ADMISSION CRITERIA

Preference will be given to curators who have a previous curating experience 

Preference will be given to curators who have an upcoming project to implement. This project will be discussed during the workshop

Have a strong interest in contemporary art and curatorial practice

Be available from 6/11/2017 to 10/11/2017

APPLICATION FILE: 

Send us: the filled application form with all the documents as requested

In order to be considered, the lead applicant should send the complete application file to:

-          Aude Urcun Brunel: aude.urcun-brunel@diplomatie.gouv.fr

-          Nduwhite Ndubuisi Ahanonu: nduwhite@gmail.com

SUBMISSION DEADLINE

All complete applications should be received before Saturday 30/09/2017

Send all the requested documents as attachments

SUCCESSFUL APPLICANTS ARE EXPECTED TO BRING THE FOLLOWING:

A computer

FINANCIAL TERMS

The registration fee for 6 days is 10,000 Naira.

(including workshop participation and local transport) 

FOCUS PERSONS

 

Institut Français du Nigéria

Aude Urcun-Brunel
aude.urcun-brunel@diplomatie.gouv.fr

IICD Center

Nduwhite Ndubuisi Ahanonu:

nduwhite@gmail.com

 

ALL RISE...Journeys to a Just World

To Attend: Please email Name, Phone Number and contact to iicdcenter@gmail.com.  Limited Seats Available Thanks.

Synopsis:
How can international disputes be resolved in the courtroom rather than on the battlefield? ALL RISE brings this complex question into sharp and personalized focus through the journeys of seven passionate students of law from India, Israel, Jamaica, Palestine, Russia, Singapore, and Uganda to compete in the world championships in Washington, DC, of the Philip C. Jessup International Law Moot Court Competition (the “Jessup”), the world’s largest simulated court competition. The “court” is the International Court of Justice (“ICJ”), the judicial arm of the United Nations. Against this backdrop, this moving film lays bare the struggles, triumphs, and transformations they experience alone and together.

ABOUT THE FILMMAKERS

Jeffrey Saunders is an Emmy-nominated and Peabody Award-winning filmmaker. He founded CinemaCapital in 1998, a production company based in New York City focused on realizing visual content from feature films to interactive programming. After a short-lived career as a professional soccer player, he got his start in film in 1993 working as a script reader at EMK Productions in Los Angeles working on behalf of HBO and TNT. Since then, Mr. Saunders has directed and produced fiction films, nonfiction films, series, commercials and Industrials as well as working with Fortune 500 companies on their brand strategies. His films have been selected at international festivals including the Berlin Film Festival, SWSX, IDFA and Thessaloniki Film Festival to name a few and acquired by distributors and broadcasters including Sundance, ARTE, PBS, Film Movement, IndiePix, ZDF, FilmMovement, Netflix, and SBS. His feature film GOAL DREAMS was selected as one of the top 10 ‘Movies That Matter’ by Amnesty International in 2006. In 2010, Mr. Saunders produced the feature fiction film A NY THING starring Greta Gerwig and Jonathan Zaccai, which premiered at the SWSX Film Festival. His current feature film, ALL RISE, follows the world’s largest international law moot court completion and is nearing completion.

Jay Shapiro has been working in the film industry for a decade after having studied documentary and film production at Clark University where he was awarded a fellowship by the Anton Group to produce a documentary in Ghana entitled LIKE ME, I AM HERE. He has specialized in international documentaries and recently released OPPOSITE FIELD, a film which chronicles a Ugandan Little League Baseball team. ALL RISE marks a natural progression in Shapiro’s career which allows him to explore his intellectual interests in the future of international law while employing his expertise in multi-country production.

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