#OGUIB

[jasfschez]

Paul D. Miller, Olu Oguibe, and Sadie Plant at the "Imagineering Publc Space"  Conference, Rotterdam Summer 2001

[elhadjlirwane]

Période de reboisement: ces vives préoccupations des acteurs de la filière bois

Période de reboisement: ces vives préoccupations des acteurs de la filière bois

Le ministère de l’Environnement a interdit la coupe et le transport du bois depuis le premier juillet 2022, sur toute l’étendue du territoire. Suite à cette décision, des projets de reboisement ont été lancés afin de permettre à la nature de se regénérer. Toutefois, les acteurs de la filière bois se retrouvent face à une situation qui, selon eux, dévient préoccupante. En Guinée, une période de…

[actualiteenguinee]

Période de reboisement: ces vives préoccupations des acteurs de la filière bois

Période de reboisement: ces vives préoccupations des acteurs de la filière bois

Le ministère de l’Environnement a interdit la coupe et le transport du bois depuis le premier juillet 2022, sur toute l’étendue du territoire. Suite à cette décision, des projets de reboisement ont été lancés afin de permettre à la nature de se regénérer. Toutefois, les acteurs de la filière bois se retrouvent face à une situation qui, selon eux, dévient préoccupante. En Guinée, une période de…

[collectionarchive]

by Olu Oguibe

source: collectionarchive.tumblr.com

[grupaok]

Olu Oguibe, Trayvon’s Ladder, 2016

[collectorsclubberlinnews]

]tip: Situation zur „Entstellten Kunst” von Adam Szymczyk mit Olu Oguibe und Studierenden der HGB, Vortrag 13.6. Leipzig Mit einem Vortrag des nigerianisch-amerikanischen Künstlers und Kurators Olu Oguibe öffnet am Donnerstag, den 13. Juni in der HGB-Galerie eine Situation zur „Entstellten Kunst" von Adam Szymczyk mit Olu Oguibe und Studierenden der HGB:

[patriciafortunato]

“Though the Igbo system of thought and existential principles play a critical role in Oguibe’s creative endeavors, dictating his approach to conceptualism, abstraction, and the form of the art object, the vital force of his art is his experience as a child in Biafra during the Nigerian Civil War in the late 1960s. This monumental human tragedy has shaped his social self. We see Biafra today as refugees cross into Europe from the many trouble spots in the Middle East and Africa. We see the pains of Biafra as humanity drowns in huge numbers in the high seas approaching the Strait of Gibraltar. In their cold repose, the figures no longer roam. They are monuments of our time; asking us to chew on our Anthropocene, and to contemplate the many disastrous events in history with enduring consequences. The past is the mirror of the present.” —Ugochukwu-Smooth Nzewi

[decolonizetheartworld]

On The Issue of Firsts: The Hypocrisy of The Guggenheim

On The Issue of Firsts:

In response to the rising push to address institutional antiblackness, some cultural organizations have began to look at hiring processes to diversify their staff. It is not enough to just hire more Black people without thinking through the role of the institution in the world, and what kind of work environment said employees would be entering into. Quite frankly, museums/galleries/art establishments need to be honest with themselves about what their true values are - not what they need it to look like but the context of their existence.

Here lies the issues of firsts - It is 2020, any FIRST is a failure on the part of an organization shrouded in individual exceptionalism. While the achievements of Black cultural workers should be celebrated, how can we turn the attention to why it is so hard to achieve in the first place?

Take The Guggenheim for example -

Traditionally, The Guggenheim hires curators of color to collect from non-western world regions, organise an exhibition, and diversify the museums permanent holdings on a temporary short-term contract via the The Guggenheim UBS MAP Global Art Initiative (MAP) . However, without any real commitment to curators of color - this feels like tokenism at best, and at worst, benefiting from the intellectual labor of said curators without actually changing the core operations of the museum.

On the note of Black curators specifically,

In 1996, Nigerian curator Okwui Ewenzor co-curated the museum’s first African art exhibition ‘In/sight: African Photographers, 1940 to the Present’.Ewenzor’s exact contributions are not made clear on the Guggenheim website however his name is listed alongside Octavio Zaya, Olu Oguibe, and Clare Bell.

23 years later, In 2019,  Chaedria LaBouvier became the first Black solo curator + exhibition catalogue writer in the museum’s 80 year history with ‘Basquiat's Defacement: The Untold Story”. Steeped in her over a decade-long research of Basquiat, this exhibition covered not only his work, but also the history of police brutality and targeting of Black men in the United States such as Michael Stewart, a Black man who was in a coma for 13 days and eventually passed away from injuries received in police custody (inspired the painting, The Death of Michael Stewart.) What then followed was institutional bullying and a deliberate attempt to erase LaBeouvier from her work. Later, at a panel organised around the Basquiat exhibition that LaBouvier was not invited- she addressed this with Nancy Spector, Chief Curator of the Guggenheim.

‘This is how institutional racism works, you use the power of the institution to weaponize bodies to exact violence.’

-Chaedria LaBouvier speaking to the Guggenheim’s erasure of a Black woman’s work. Full address posted on our IGTV.

Later that year, Ashley James was the first Black Curator to be hired full time by the institution, but their past violence, unchecked and unacknowledged, still remains.

This is only a summary of the Guggenheim’s treatment of LaBeouvier, for more information:

Chaedria LaBouvier Speaking Out via Twitter

Guggenheim's First Black Curator Calls Museum Out For Institutional Racism And Hypocrisy, Jo-Marie Mckenzie via Essence

Video of LaBouvier addressing Nancy Spector, Source

Guggenheim Hires First Full-Time Black Curator, Robin Pogrebin via New York Times

In/Sight (African Photographers from 1940-Present), Exhibition Catalogue, The Guggenheim

Guggenheim UBS Map Global Art Initiative

[urbanstillsandstructures]

Urban stills & structures

d14, personal retrospective

Olu Oguibe, Obelisk

[museumdd]

The ‘t’ is Silent – Gabi Ngcobo from Museum Dhondt-Dhaenens on Vimeo.

From 26 June to 2 October 2022, MDD, mudel en Roger Raveel Museum present the 8th edition of the Biennial of Painting. MDD’s exhibition, entitled The ‘t’ is Silent, is curated by curator Gabi Ngcobo and artist Oscar Murillo.

Painting, historically regarded as the ‘royal road’ of artistic practice, has over the centuries meant that the art form, alongside drawing, served as a foundation for artistic education, where such education was available. The history of western art pedagogy in colonised places across the world often reveals that the colonial government’s rule was indirectly played out in how formal artistic pedagogies were organised. The recent calls for decolonial education around the world – fuelled by the Black Lives Matter and other affiliated movements, as well as the pandemic – have inspired reconsiderations of the human condition and the politics of care. At the same time, these social movements have coincided with a new rise in representational painting that has been critiqued, in the words of artist Olu Oguibe, as “jolly, no-worries, all sunshine and flowers, ebullient wealthy middle-class representation of Blackness...”

The ‘t’ is Silent operates adjacent to this renewed emergence. Departing from the work of Jenny Montigny in MDD’s collection and Oscar Murillo’s Disrupted Frequencies, this exhibition focuses on artists and works that record time differently, works that are about painting or that think through the medium of painting as a form of journaling – of working things through and of learning anew.

“The artists featured in this exhibition face history and the present by embracing ‘trouble’ and a kind of ‘paining’ that forces one to decide, in a time marked indecision. Where objects disappear, they are replaced by feelings and energy; where they appear they are being dissected in order to uncover another world of possibilities.” – Gabi Ngcobo Curators

Oscar Murillo (1986, Valle del Cauca, Colombia) is based in various locations. His body of work demonstrates a sustained emphasis on the notion of cultural exchange and the multiple ways in which ideas, languages, and even everyday items are displaced, circulated, and increasingly intermingled.

Gabi Ngcobo (1974, eThekwini, South Africa) engages in collaborative artistic, curatorial, and educational projects in South Africa and on an international scope. She is a founding member of the Johannesburg based collaborative platform NGO – Nothing Gets Organised. NGO focuses on processes of self-organisation that take place outside of predetermined structures, definitions, contexts, or forms. About the Biennial of Painting

Since 2008, MDD, mudel and Roger Raveel Museum have simultaneously presented paintings from Belgium and abroad every two years. This 'celebration of painting' always departs from the context and the collection of the three museums. For this 8th edition, each museum explores the history of painting in its own unique way. The result is three exhibitions, for which each museum invites one or more guest curators who, based on an individual selection, shed light on the characteristics of the medium of painting and link it to current themes.

The Biennial of Painting is an ideal cultural excursion or weekend trip for the whole family. The three museums are located in a straight line barely 13 kilometres from each other. Combine a visit to the three museums with a combi-ticket and a cycling or walking tour through the beautiful Leie region.

[tirednigerianartist]

In the past decade, as part of the project of Western internationalist expansion that I mentioned earlier Western collectors, curators and critics have initiated a process of neo-primitivising African artists as a condition for their appearance and visibility in the West. Some of the artists as a condition for their appearance and visibility in the west, have been given entry to the most prestigious spaces in the West on the condition that they are or appear naive, untrained, inarticulate and often unskilled in the manipulation of the specific materials they are encouraged to employ. 

 Often too, part of the condition has been their habitation outside the west, which makes it possible for them to be ‘discovered’. This equally ensures that they do not compete for permanent place in western internationalism. They are introduced as circus animals as curiosities from the dark continent whose purpose is to amuse the west, provide for a foil for the continued valorisation of the white/master genius and help create the impression of an “expanding” internationalism”…. The neo-primitivisation of artists of African descent, therefore, is a deliberate, nasty game of mischief fundamentally rooted in an inclination to otherise and ridicule. And this too is a race issue.

 Artists of African descent who defy the above categorisation fail to attract the attention of the establishment because their existence questions deep-seated racial convictions and anxieties.

 Fear - that fear which James Baldwin so clearly identified and theorised, the fear that the west might lose the only backdrop against which it can project itself in full power and glory -is at the root of its culture of intolerance. The West is not ready yet to see an equal Other, and as Chinua Achebe said, until this happens, until the West and it’s Establishments are ready to acknowledge the humanity of artists of non-occidental descent, to accept them for what they are; artists and human beings; contemporaries; the deep flaws of western internationalism cannot be remedied.

 Excerpts from “A brief note on Internationalism” written by Olu Oguibe re-published in “South as a state of mind” magazine 

“Fuck off” illustration by Olatunde Alara for TNA

[artasnoidea]

POPULATION

Abounaddara Akinbode Akinbiyi Nevin Aladağ Danai Anesiadou Andreas Angelidakis Aristide Antonas Rasheed Araeen Ariuntugs Tserenpil Michel Auder Alexandra Bachzetsis Nairy Baghramian Sammy Baloji Arben Basha Rebecca Belmore Sokol Beqiri Roger Bernat Bili Bidjocka Ross Birrell Llambi Blido Nomin Bold Pavel Brăila Geta Brătescu Miriam Cahn María Magdalena Campos-Pons and Neil Leonard Vija Celmins Banu Cennetoğlu Panos Charalambous Nikhil Chopra Ciudad Abierta Marie Cool Fabio Balducci Anna Daučíková Moyra Davey Yael Davids Agnes Denes Manthia Diawara Beau Dick (1955–2017) Maria Eichhorn Hans Eijkelboom Bonita Ely Theo Eshetu Aboubakar Fofana Peter Friedl Guillermo Galindo Regina José Galindo Israel Galván, Niño de Elche, and Pedro G. Romero Daniel García Andújar Pélagie Gbaguidi Apostolos Georgiou Yervant Gianikian and Angela Ricci Lucchi Gauri Gill Marina Gioti Beatriz González Douglas Gordon Hans Haacke Constantinos Hadzinikolaou Irena Haiduk Ganesh Haloi Anna Halprin Dale Harding David Harding Maria Hassabi Edi Hila Susan Hiller Hiwa K Olaf Holzapfel Gordon Hookey iQhiya Sanja Iveković Amar Kanwar Romuald Karmakar Andreas Ragnar Kassapis Kettly Noël Bouchra Khalili Khvay Samnang Daniel Knorr Katalin Ladik Lala Rukh (1948–2017) David Lamelas Rick Lowe Alvin Lucier Ibrahim Mahama Narimane Mari Mata Aho Collective Mattin Jonas Mekas Angela Melitopoulos Phia Ménard Lala Meredith-Vula Gernot Minke Marta Minujín Naeem Mohaiemen Hasan Nallbani Joar Nango Rosalind Nashashibi and Nashashibi/Skaer Negros Tou Moria Otobong Nkanga Emeka Ogboh Olu Oguibe Rainer Oldendorf Pauline Oliveros (1932–2016) Joaquín Orellana Mejía Christos Papoulias Véréna Paravel and Lucien Castaing-Taylor Benjamin Patterson (1934–2016) Dan Peterman Angelo Plessas Nathan Pohio Pope.L Postcommodity Prinz Gholam R. H. Quaytman Gerhard Richter Abel Rodríguez Tracey Rose Roee Rosen Arin Rungjang Ben Russell Georgia Sagri Máret Ánne Sara Ashley Hans Scheirl Marilou Schultz David Schutter Algirdas Šeškus Nilima Sheikh Ahlam Shibli Zef Shoshi Mounira Al Solh Annie Sprinkle and Beth Stephens Eva Stefani K. G. Subramanyan (1924–2016) Vivian Suter El Hadji Sy Sámi Artist Group (Keviselie/Hans Ragnar Mathisen, Britta Marakatt-Labba, Synnøve Persen) Terre Thaemlitz Piotr Uklański Jakob Ullmann Antonio Vega Macotela Cecilia Vicuña Annie Vigier & Franck Apertet (les gens d’Uterpan) Wang Bing Lois Weinberger Stanley Whitney Elisabeth Wild Ruth Wolf-Rehfeldt Ulrich Wüst Zafos Xagoraris Sergio Zevallos Mary Zygouri Artur Żmijewski

Zainul Abedin (1914–1976) Stephen Antonakos (1926–2013) Arseny Avraamov (1886–1944) Ernst Barlach (1870–1938) Étienne Baudet (ca. 1638–1711) Samuel Beckett (1906–1989) Franz Boas (1858–1942) Arnold Bode (1900–1977) Lorenza Böttner (1959–1994) Marcel Broodthaers (1924–1976) Lucius Burckhardt (1925–2003) Abdurrahim Buza (1905–1986) Vlassis Caniaris (1928–2011) Sotir Capo (1934–2012) Cornelius Cardew (1936–1981) Ulises Carrión (1941–1989) Agim Çavdarbasha (1944–1999) Chittaprosad (1915–1978) Jani Christou (1926–1970) Chryssa (1933–2013) André du Colombier (1952–2003) Gustave Courbet (1819–1877) Christopher D’Arcangelo (1955–1979) Bia Davou (1932–1996) Maya Deren (1917–1961) Ioannis Despotopoulos (1903–1992) Thomas Dick (1877–1927) Carl Friedrich Echtermeier (1845–1910) Maria Ender (1897–1942) Forough Farrokhzad (1935–1967) Conrad Felixmüller (1897–1977) Pavel Filonov (1883–1941) Niccolò di Pietro Gerini (1340–1414) Tomislav Gotovac (1937–2010) Jacob and Wilhelm Grimm (1785–1863, 1786–1859) Ludwig Emil Grimm (1790–1863) Giovanni di ser Giovanni Guidi (1406–1486) Cornelia Gurlitt (1890–1919) Louis Gurlitt (1812–1897) Nikos Hadjikyriakos-Ghika (1906–1994) Oskar Hansen (1922–2005) Sedje Hémon (1923–2011) Theodor Heuss (1884–1963) Karl Hofer (1878–1955) Ralph Hotere (1931–2013) Albert Jaern (1893–1949) Iver Jåks (1932–2007) Sunil Janah (1918–2012) Alexander Kalderach (1880–1965) Tshibumba Kanda Matulu (1947–1981 disappeared) Leo von Klenze (1784–1864) Kel Kodheli (1918–2006) Louis Kolitz (1845–1914) Spiro Kristo (1936–2011) KSYME-CMRC (founded 1979) Anna “Asja” Lācis (1891–1979) Maria Lai (1919–2013) Yves Laloy (1920–1999) Valery Pavlovich Lamakh (1925–1978) George Lappas (1950–2016) Karl Leyhausen (1899–1931) Max Liebermann (1847–1935) George Maciunas (1931–1978) Ernest Mancoba (1904–2002) Oscar Masotta (1930–1979) Mikhail Matyushin (1861–1934) Pandi Mele (1939–2015) Tina Modotti (1896–1942) Benode Behari Mukherjee (1904–1980) Krzysztof Niemczyk (1938–1994) Ivan Peries (1921–1988) David Perlov (1930–2003) André Pierre (1915–2005) Dimitris Pikionis (1887–1968) Dmitri Prigov (1940–2007) Hasan Reçi (1914–1980) W. Richter Anne Charlotte Robertson (1949–2012) Erna Rosenstein (1913–2004) August Wilhelm and Friedrich Schlegel (1767–1845, 1772–1829) Bruno Schulz (1892–1942) Scratch Orchestra (1969–1974) Tom Seidmann-Freud (1892–1930) Allan Sekula (1951–2013) Baldugiin Sharav (1869–1939) Amrita Sher-Gil (1913–1941) Vadim Sidur (1924–1986) August Spies (1855–1887) Foto Stamo (1916–1989) Gani Strazimiri (1915–1993) Władysław Strzemiński (1893–1952) Alina Szapocznikow (1926–1973) Yannis Tsarouchis (1910–1989) Antonio Vidal (1928–2013) Albert Weisgerber (1878–1915) Lionel Wendt (1900–1944) Johann Joachim Winckelmann (1717–1768) Fritz Winter (1905–1976) Basil Wright (1907–1987) Andrzej Wróblewski (1927–1957) Ivan Wyschnegradsky (1893–1979) Iannis Xenakis (1922–2001) Androniqi Zengo Antoniu (1913–2000) Pierre Zucca (1943–1995)

Documenta14, 2017

[rokkensauer]

I was a stranger and you took me where? – 200 seitige Publikation über Aufbau, Abbau und Wiederaufbau des documenta-Kunstwerks von Olu Oguibe

[thechemicalroom]

Olu Oguibe, Trayvon’s Ladder (2016), Birke und Kupfer, 549 × 61 × 122 cm

[orbookstore]

New Arrival: Social Medium

Since the turn of the millennium, artists have been writing, and circulating their writing, like never before. The seventy-five texts gathered here — essays, criticism, manifestos, fiction, diaries, scripts, blog posts, and tweets — chart a complex era in the art world and the world at large, weighing in on the exigencies of our times in unexpected and inventive ways.

Contributions from Greg Allen, Rasheed Araeen, Tauba Auerbach, Fia Backström, Fiona Banner, Bill Beckley, Caroline Bergvall, Bernadette Corporation, Xu Bing, Gregg Bordowitz, James Bridle, Bruce High Quality Foundation, Tania Bruguera, Paul Chan, Mel Chin, Molly Crabapple, Critical Art Ensemble, Moyra Davey, Tacita Dean, David Diao, Jimmie Durham, Shannon Ebner, Harrell Fletcher, Andrea Fraser, Coco Fusco, Rainer Ganahl, Ryan Gander, Mariam Ghani, Renée Green, Deanna Havas, Pablo Helguera, Karl Holmqvist, Ashley Hunt, Juliana Huxtable, Emily Jacir, Helen Johnson, Ronald Jones, Nina Katchadourian, Mike Kelley, John Kelsey, Jutta Koether, Glenn Ligon, Yve Lomax, LTTR, Jill Magid, Josiah Mcelheny, John Miller, Naeem Mohaiemen, Nástio Mosquito, Takashi Murakami, Jayson Musson, Olu Oguibe, Marisa Olson, Şener Özmen, Katrina Palmer, Adam Pendleton, Mai-Thu Perret, Adrian Piper, Pope.L, Seth Price, Raqs Media Collective, Lili Reynaud-Dewar, Kay Rosen, Peter Rostovsky/David Geers, Natascha Sadr Haghighian, Mira Schor, Karin Schneider and Nicolás Guagnini, Michael Schwab, Gregory Sholette, Slavs And Tatars, Cally Spooner, Frances Stark, Hito Steyerl, Koki Tanaka, Ryan Trecartin, Suzanne Treister, Dmitry Vilensky, W.A.G.E., Mary Walling Blackburn, Ai Weiwei, The Yes Men, Young-Hae Chang Heavy Industries, and Qiu Zhijie

$35, softcover

[dagomat]

ARTbmk★ on PHOTO & VIDEOtour @ documenta 14 Kassel 2017 // Tag 04 @ Karlsaue // Blutsmühle von Antonio Vega Macotela // @ Orangerie Romuald Karmakars orthodoxer Gesang „Byzantion“ // @ Königsplatz Oli Oguibes Obelisk der Willkommenskultur // @ Nordstadtpark Agnes Denens „Living Pyramide“ // Fotos © 2017 by Bertram Maria Keller/ARTbmk★