Diplomacy which can also be referred as an art of international
relations has recorded major 'success' in the recent times due to
intercultural events/activities involving people of two or more
countries. Some of these successes are mostly seen either in terms of
the immediate gains of people involved in such cross-cultural events or
the cultural education which has benefited the bilateral relationship
between the nations involved. Without reservations, this kind of
relationship is very healthy for peaceful co-existence of people on the
globe. It is in view of this, that the M Contemporary Art would be
commended for their courage and effort to stage "Cross Current"- a cross
cultural exhibition involving Nigerian and Italian artists, which took
place at the Civic Center in Victoria Island, Lagos (March 17-18, 2011).
However, it should be understood that in any diplomatic events between two or more countries, there is an undertone agenda (objective) to be achieved by the initiator(s) of the event. Having no opportunity of attending the Cross Current exhibition of ten Nigeria and ten Italian artists, I have relied solely on multiple media reports which are every where on the net. On the other hand, these media reports could not adequately satisfy readers by critically explaining the contextual meaning under which the exhibition was held.
Cross Current in context
First, it should be noted that, the exhibition was a clear avenue of exporting Italian culture to the outside world which Nigeria is more or less viewed as one of the best nations in Africa to market Italian visual culture. This was expressed by Marta Boazi of M Contemporary Art in the press conference that was held (15th March) prior to the exhibition. The issue now is that, why must Nigeria artists be involved? The participation of indigenous artists in the exhibition was, in a way, to neutralize home base criticisms which may arise as a result of staging an exhibition of, exclusively, Italian artists on Nigerian soil.
Criteria for Selection of works
From the reports of Safarinewsbeat.com, for example, it appears, "similarities between the works of Nigerian and Italian artists" was the yard stick or basis on which indigenous artists were being selected to participate in the exhibition. This per se contradicts the true panoramic picture (view) of Nigerian and Italian contemporary art in which Ms Boazi has been quoted to have mentioned in her speech during the conference. This is because, the "similarities in terms of work" as a bench mark for the selecting the participating artists only presents one out of the many sides of contemporary art practice in Nigeria. A fair selection would have drawn on the both differences and similarities existing between the works of Nigerian and Italian artists to represent the panoramic view. It seems also that, the choice of selection base on similarities was deliberate as it was neatly carved to enable the works of foreign artists find a subtle way of influencing Nigerian cultural environment in artistic way.
A Cross section of the participating artists
Nigeria artists that were choosing to take part in the exhibition can be said to be of high-profile in the contemporary art circle. For example, artists like Kalade Oshinowo and Oliver Enwonwu are well known figures in Nigerian art scene. The success of such artists in art has made them to experience as well as being influenced by the art practices of other parts of the world including contemporary Italian art. Their exposure in this way, made it is easy for them (the selected Nigerian artists) to beat the single curatorial criterion of 'similarities' as used by organizers of Cross Current exhibition. This is against many other creative talents which their works could have opened up other ways of viewing Nigerian art.
A return exhibition and the made in Nigerian factor.
The media reports also reveal that, the second version of the exhibition (involving Nigerian and Italian artists) would be held in Italy on a latter date which is yet to be announced. This obviously has one of two implications on the current made-in-Nigeria project. Although, Mr Meka Olowola (the representative of Oando plc, and one of the sponsors of the exhibition) view the exhibition of Nigerian art in Italy as a good avenue to "take the made in Nigeria dream and turn it into a world class project"; this greatly depends on the kind of art works which will be featured in the coming Italian-Nigerian art show in far away Italy. If the selection is going to be on the common ground of "similarities", then it should be noted that Italians will not see any significant difference between what they would be rating as genuine Nigerian art to what they practice at the moment. This, in a way, will conflict his (Mr. Olowola's) statement on the under representation of Nigerian art at international art shows. The category of works should be such that will represent the true values of the nation's visual culture: Unity in 'diversity'. The diversity should be seen in styles, materials used, indigenous artistic concepts, as well as the general motifs inherent in the works of the exhibiting artists.
The Way forward
At the moment, it appears as if Nigerian artists/art practice has an uncertain stand point in truly defining the nature of their/its art as against the views of outsiders on what Nigerian art is. If not so, Ms Boazi's attention should have been drawn towards understanding that, a panoramic view involves an all-encompassing survey of a particular topic or issue. Base on this, a panoramic view of Nigerian art can not be sustained on the works of only ten artists more so that it was based on the similarity criterion. The Italy exhibition, if ever held, should be directed toward addressing this. It is only through this means that the made-in-Nigerian dream (project) would be relevant to the outside world.
However, it should be understood that in any diplomatic events between two or more countries, there is an undertone agenda (objective) to be achieved by the initiator(s) of the event. Having no opportunity of attending the Cross Current exhibition of ten Nigeria and ten Italian artists, I have relied solely on multiple media reports which are every where on the net. On the other hand, these media reports could not adequately satisfy readers by critically explaining the contextual meaning under which the exhibition was held.
Cross Current in context
First, it should be noted that, the exhibition was a clear avenue of exporting Italian culture to the outside world which Nigeria is more or less viewed as one of the best nations in Africa to market Italian visual culture. This was expressed by Marta Boazi of M Contemporary Art in the press conference that was held (15th March) prior to the exhibition. The issue now is that, why must Nigeria artists be involved? The participation of indigenous artists in the exhibition was, in a way, to neutralize home base criticisms which may arise as a result of staging an exhibition of, exclusively, Italian artists on Nigerian soil.
Criteria for Selection of works
From the reports of Safarinewsbeat.com, for example, it appears, "similarities between the works of Nigerian and Italian artists" was the yard stick or basis on which indigenous artists were being selected to participate in the exhibition. This per se contradicts the true panoramic picture (view) of Nigerian and Italian contemporary art in which Ms Boazi has been quoted to have mentioned in her speech during the conference. This is because, the "similarities in terms of work" as a bench mark for the selecting the participating artists only presents one out of the many sides of contemporary art practice in Nigeria. A fair selection would have drawn on the both differences and similarities existing between the works of Nigerian and Italian artists to represent the panoramic view. It seems also that, the choice of selection base on similarities was deliberate as it was neatly carved to enable the works of foreign artists find a subtle way of influencing Nigerian cultural environment in artistic way.
A Cross section of the participating artists
Nigeria artists that were choosing to take part in the exhibition can be said to be of high-profile in the contemporary art circle. For example, artists like Kalade Oshinowo and Oliver Enwonwu are well known figures in Nigerian art scene. The success of such artists in art has made them to experience as well as being influenced by the art practices of other parts of the world including contemporary Italian art. Their exposure in this way, made it is easy for them (the selected Nigerian artists) to beat the single curatorial criterion of 'similarities' as used by organizers of Cross Current exhibition. This is against many other creative talents which their works could have opened up other ways of viewing Nigerian art.
A return exhibition and the made in Nigerian factor.
The media reports also reveal that, the second version of the exhibition (involving Nigerian and Italian artists) would be held in Italy on a latter date which is yet to be announced. This obviously has one of two implications on the current made-in-Nigeria project. Although, Mr Meka Olowola (the representative of Oando plc, and one of the sponsors of the exhibition) view the exhibition of Nigerian art in Italy as a good avenue to "take the made in Nigeria dream and turn it into a world class project"; this greatly depends on the kind of art works which will be featured in the coming Italian-Nigerian art show in far away Italy. If the selection is going to be on the common ground of "similarities", then it should be noted that Italians will not see any significant difference between what they would be rating as genuine Nigerian art to what they practice at the moment. This, in a way, will conflict his (Mr. Olowola's) statement on the under representation of Nigerian art at international art shows. The category of works should be such that will represent the true values of the nation's visual culture: Unity in 'diversity'. The diversity should be seen in styles, materials used, indigenous artistic concepts, as well as the general motifs inherent in the works of the exhibiting artists.
The Way forward
At the moment, it appears as if Nigerian artists/art practice has an uncertain stand point in truly defining the nature of their/its art as against the views of outsiders on what Nigerian art is. If not so, Ms Boazi's attention should have been drawn towards understanding that, a panoramic view involves an all-encompassing survey of a particular topic or issue. Base on this, a panoramic view of Nigerian art can not be sustained on the works of only ten artists more so that it was based on the similarity criterion. The Italy exhibition, if ever held, should be directed toward addressing this. It is only through this means that the made-in-Nigerian dream (project) would be relevant to the outside world.
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