British Council unveils 'Wind Sculpture' by Yinka Shonibare MBE in Lagos, Nigeria
Tuesday 1 November 2016 to Tuesday 31 January 2017
This will be the first major Yinka Shonibare exhibition in Nigeria and will see an installation of his iconic Wind Sculpture at the Ndubuisi Kanu Park in Lagos.
The sculpture, made of batik design, echoes Shonibare's imaginative treatment of the sails on Nelson's Ship in a Bottle, his Fourth Plinth commission for Trafalgar Square which is permanently installed outside the National Maritime Museum, Greenwich.
Following the installation, there will be a lecture for Visual Arts students and film screenings which will take place at Ndubuisi Kanu Park.
Wind Sculpture will be installed from 1 November 2016 until 31 January 2017.
Yinka Shonibare in ‘BODY/PLAY/POLITICS’ at Yokohama Museum of Art, Yokohama, Japan
The exhibition runs from 1 October until 14 December 2016.
BODY/PLAY/POLITICS presents contemporary works of art that delve from a variety of angles into images that have been generated throughout history by “the body,” which encompasses the individual human body, our collective actions, and spiritual presences. There is a tendency in our society to label specific bodies as healthy or unhealthy, beautiful or ugly, and to envision certain modes of behavior as representative of the entire group, which we classify such as “typically Japanese.” In other cases, minor deviations from norms or expectations can elicit strange feelings in observers and cause entirely different meanings to be perceived.
In a world cohabited by people with all sorts of skin colors, ethnicities, religions, gender norms and lifestyles, where the colors, forms, or behaviors of individual bodies are not inherently vested with specific meanings, over the course of millennia many value judgments and hierarchies have arisen in societies and are all too often linked to tragedies of history.
The six artists featured in this exhibition are from Europe/ Africa, Southeast Asia, and Japan. Their works express, in poetic and sometimes humor-inflected ways, aspects of history that manifest themselves through the body, looking toward the future and bringing the shapes of new ideas and meanings into view.
Artists: Yinka Shonibare MBE, Yee I-Lann, Apichatpong Weerasethakul, UuDam Tran Nguyen, Ishikawa Ryuichi and Tamura Yuichiro.
Revolution Kid (Fox), 2012
Yinka Shonibare MBE, 'Paradise Beyond' at Gemeentemuseum, Helmond
20th September 2016 – 12th February 2017
The Gemeentemuseum in Helmond is delighted to announce a solo exhibition of works by Yinka Shonibare MBE.
Paradise Beyond will showcase a selection of sculpture, installation, collage, drawing, photography and film by Yinka Shonibare, from the period 2004 – 2016. Exploring themes of race, class and power, Shonibare's seductive and humorous work makes sensitive socio-cultural topics accessible to the audience.
The exhibition focuses on the repetition in historical cycles of wealth, conflict, revolution and war, in the ultimate quest for paradise. "Paradise Beyond" suggests that somewhere beyond the horizon lies paradise - but where and when this will be found remains uncertain.
Yinka Shonibare MBE is known for his use of colourful African batik fabric sourced from the Helmond-based Vlisco textile factory. The Vlisco patterns or imitation batik are inspired by Indonesian design and for several decades have been very popular in West Africa. Since the 1960s the fabrics have been used as a symbol of African identity and independence - which supports Shonibare’s motto: nothing is what it seems.
In connection with Shonibare's 'Paradise Beyond', Vlisco will also be exhibiting classic patterns, re-interpretations and new designs in the separate exhibition Un par Un. The exhibition focuses in on four specific aspects: the company’s history, production processes, design processes and the use of the fabrics in fashion and art. In this presentation, developed especially for Vlisco’s 170th anniversary, the emphasis will be on captivating the visual qualities of the fabrics and their powerful symbolism.
Rose of Lima, 2016
'...and the wall fell away' at Stephen Friedman Gallery
28 September 2016 - 5 November 2016
Private view: Tuesday 27 September 2016, 6-8pm
Opening during Frieze week in October 2016, Yinka Shonibare MBE presents his sixth solo exhibition at Stephen Friedman Gallery titled ‘...and the wall fell away'.
The show marks a significant transition and a pivotal moment in the artist's practice. There is a complete absence of the Dutch wax batik textiles for which he is known. He instead takes the fabric's designs and manipulates them in new ways. Traditions of classical art and religious iconography are explored in the exhibition; Shonibare uses the patterns of the batik fabrics to interrupt these themes. The idea of dismantling the boundaries in western understanding is indicated in the title of the show. By leaving the ‘trace' of his trademark batik motifs, Shonibare gives a personal insight into the complexities of identity, hybridity and colonial history.
The exhibition is divided into two parts: Gallery One is focused on ideas of rationality in classical art and Gallery Two, on religion. The show coincides with a major commission currently displayed on the Royal Academy's façade on Burlington Gardens. In the exhibition, a monumental hand-painted installation will echo the same motif; the Royal Academy being an important link and on-going inspiration for the artist following his election as an Academician in 2013. Concurrent with this show is a new commission, ‘The End of Empire', which is presented with ‘The British Library' and on view at Turner Contemporary in Margate.
Upon entering Gallery One, we are struck by the absence of sculpture. Instead, an expansive wall painting is framed by the white walls of the gallery. Unlike previous iterations of these impressive installations, here there are no sculptural elements. This work sets the tone for the show as the wax batik pattern is stripped from the fabric and positioned in a new context. Dutch wax batik fabric was inspired by Indonesian design, mass-produced by the Dutch and eventually sold to the colonies in West Africa. In the 1960s the material became a new symbol of African identity and independence. Since the early 1990s, Shonibare has used it to represent the flexibility of identity as much as the implications of colonialism. The wall painting is completed by an accompanying floor drawing rendered in gold and red and inspired by Leonardo da Vinci's ‘Vitruvian Man'. Da Vinci's drawing was intended to demonstrate that man is the measure of all things. Shonibare's version here is a black figure and a hybrid of both man and woman. The two elements form one immersive work, of which the viewer becomes a part on entering the room.
In another gallery three sculptures recognisable as David, Venus de Milo and the Discus Thrower, are gloriously adorned with batik patterns. Shonibare is renowned for creating dynamic figures in motion, dressed in Victoriana costumes reproduced in batik fabric. The figures' lithe bodies have been hand-painted with the batik designs. Importantly, these have been altered by the artist. Much like the artist's series of self-portraits in which he superimposed batik patterns onto his own face, these new works put the pattern directly onto the skin. In doing so, Shonibare clashes the ideological implications of the textile with classical sculpture. Importantly, unlike previous works that bore antique globes in place of a head; here the figures have contemporary globes that map a post colonial landscape. This deftly denies any notion of race and focuses our attention instead on figure's pose and its connotations of sexuality, masculinity, athleticism and the ideal body.
The series of screen-prints on canvas in Gallery Two is Shonibare's largest to date. A key feature of Shonibare's work is its visual appeal, and these are immediately seductive. Figures from Christian and African religious iconography merge into fantastical hybrids. Shonibare is able to make these works by drawing on a large tablet, using new technology that was not available to him before. This is the first instance in which we see Shonibare's drawing, what the artist describes as ‘hand expression', on such a large scale. Each work begins with an image of a European religious figure in a classical pose. Shonibare then overlays this with elements of Dutch Wax batik patterns and African ritual masks. "First of all [I] think about picture making itself: the history of Modernism and the aesthetic of the mask in Modernist painting. So we are going back to Picasso I guess. And then taking that signifier of religious ritual, which is the mask, and overlapping one religious symbol with another religious symbol". By combining powerful imagery with their respective mythologies, he creates a hybrid: what the artist calls ‘a third myth'.
Shonibare's presentation flirts with the expectations of the audience, removing the textiles for which he is known. The mimesis of the fabric is an important move for the artist. Shonibare sees the material as a metaphor for interdependence: complexity and ambiguity are the cornerstones of his artistic narrative. His specific concerns here; art history, the power of iconography and religion, are powerfully brought together. With each of them he interrupts familiar references by overlaying the image with the wax batik pattern. In doing so he exercises individual agency and aesthetic creativity, which are ideas that are central to humanism. This has long been present in Shonibare's work, and this exhibition should be read as a celebration of human expression, achievement, beauty and the pursuit of intellectual and religious liberty, regardless of race and time. ‘...and the wall fell away' demonstrates an irreverent disregard for the binaries presented in western understandings and offers a contemporary deconstruction of the classics.
Nelson's Ship in a Bottle
Yinka Shonibare MBE at Yale Centre for British Art
Thursday, 1st September - Sunday, 11th December 2016
Yinka Shonibare is best known for his explorations of the legacies of colonialism through sculpture, installations, film, and photography. This display, which coincides with the Center’s exhibition Spreading Canvas: Eighteenth-Century British Marine Painting, will focus on Shonibare’s interest in the British historical figure Admiral Lord Nelson, whom he uses as an emblem of Britain’s imperial history. An important feature of Shonibare’s work is the consistent use of colorful, wax-printed cotton fabrics, which are associated with Africa but originated in Indonesia and Holland, a product of global trade and imperial markets. The fabric sums up the themes at the heart of Shonibare’s work.
Yinka Shonibare MBE will be curated by Martina Droth, Deputy Director of Research and Curator of Sculpture, Yale Center for British Art.
Burlington Gardens Summer Festival, Saturday 2nd July 2016
The Royal Academy in partnership with Yinka Shonibare
Join the Royal Academy of Arts', Burlington Gardens Summer Festival on Saturday 2nd July from 12 noon - 6pm for lively, free street entertainment that takes inspiration from artist Yinka Shonibare RA. From interactive art and creative workshops, to food, music and entertainment, the Festival will offer something for everyone.
Encounter sit-specific art installations or get involved with print-making or drumming workshops. Bring the kids to upcycle vintage garnments and pose in family portraits. Enjoy live music, dance and poetry performances while tasting delicious food and drink from street stalls including Orbit Beers, La Gelateria and Company of Cooks, and a selection of Nigerian Tapas and cocktails by Charlton Nicoll.
Buy tickets here to the Artist’s Dining Room, where you’ll be treated to a 3-course Nigerian inspired menu while Doug Fishbone leads a series of lively discussion about Yinka Shonibare’s work.
Bad School Boy 2014
Fibreglass mannequin, Dutch wax printed cotton textile, glass flask, stool, resin, globe and leather. 195 x 65 x 57cm. © 2010 Yinka Shonibare MBE
Making & Unmaking: An Exhibition Curated by Duro Olowu
19 June - 18 September, 2016
Making & Unmaking, curated by celebrated fashion designer and curator Duro Olowu.
Bringing together over sixty international artists working in diverse media, this exhibition places antique West African textiles and Bauhaus tapestries amongst contemporary works and new commissions. Individually, the works address themes that include portraiture as well as representations of beauty, gender, sexuality, innocence and the body. Collectively, their coming together reveals a common thread that Olowu describes as a ‘process of personal ritual experienced by artists in creating their work’.
Artists featured: Caroline Achaintre, Marina Adams, Leonce Raphael Agbodjelou, Anni Albers, Tasha Amini, Hurvin Anderson, Polly Apfelbaum, Tony Armstrong Jones, Emheyo Bahabba, Walead Beshty, Alighiero Boetti, Louise Bourgeois, Carol Bove, Lisa Brice, James Brown, Zoe Buckman, Claude Cahun, Lygia Clark, Céline Condorelli, Tommaso Corvi-Mora, Alexandre da Cunha, Andreas Eriksson, Meredith Frampton, Simon Fujiwara, Anya Gallaccio, Hassan Hajjaj, Chie Hammons, Sheila Hicks, Donna Huddleston, Diane Itter, Isaac Julien, Neil Kenlock, Fernand Léger, Eric Mack, Peter McDonald, Rodney McMillian, Hamidou Maiga, Ari Marcopoulos, Brice Marden, Wardell Milan, Mrinalini Mukherjee, Wangechi Mutu, Alice Neel, Nobukho Nqaba, Chris Ofili, Horace Ové CBE, Irving Penn, Tal R, Michael Roberts, Ibrahim El-Salahi, Yinka Shonibare MBE, Malick Sidibé, Lorna Simpson, Daniel Sinsel, Christiana Soulou, Dorothea Tanning, Henry Taylor, Bill Traylor, Francis Upritchard, Al Vandenberg, Brent Wadden, Grace Wales Bonner, Rebecca Ward, West African Textiles, Stanley Whitney, Kehinde Wiley, Masaaki Yamada, Lynette Yiadom-Boakye
Trumpet Boy, 2010
Fibreglass mannequin, Dutch wax printed cotton textile, trumpet, globe, leather and steel baseplate © 2010 Yinka Shonibare MBE
The Foundling Museum, London
27th May - 4th September 2016
For this major exhibition, Foundling Fellow Cornelia Parker has invited over sixty outstanding artists from a range of creative disciplines to respond to the theme of 'found', reflecting on the Museum's heritage.
Combining new and existing work with found objects kept for their significance, the exhibition will unfold throughout the Museum, interacting with historic works in the Collection and with each other. Parker’s inspiration has in part been taken from the Museum’s eighteenth-century tokens – small objects left by mothers with their babies as a means of identification should they ever return to the Foundling Hospital to claim their child.
Artists participating in FOUND include: Ron Arad RA, Phyllida Barlow RA, Jarvis Cocker, Richard Deacon RA, Tacita Dean RA, Jeremy Deller, Edmund de Waal, Brian Eno, Antony Gormley RA, Mona Hatoum, Thomas Heatherwick RA, Christian Marclay, Mike Nelson, Laure Prouvost, Yinka Shonibare MBE, David Shrigley, Bob and Roberta Smith RA, Wolfgang Tillmans RA, Marina Warner and Rachel Whiteread. Twenty Royal Academicians are contributing to the show, echoing the role that the Foundling Hospital played in the development of the Royal Academy. Founded in 1739 to care for babies at risk of abandonment, the Foundling Hospital was supported by the leading artists of the day, many of whom donated work, thanks to the revolutionary involvement of the artist William Hogarth and the composer George Frideric Handel. The Royal Academy’s origins can be traced to the collective mobilisation of artists and the promotion of British art that took place at the Hospital during the eighteenth century.
Butterfly Kid (Boy), 2015
Fiberglass mannequin, Dutch wax printed cotton textile, silk, metal, globe, leather and steel baseplate 50 x 29 1/2 x 34 5/8 in © 2015, Yinka Shonibare MBE
Rotunda Projects: Yinka Shonibare MBE
Organised by the Memphis Brooks Museum of Art, courtesy of James Cohan Gallery
7th May - 6th November 2016
The inaugural exhibition for Rotunda Projects comprises four figures from Shonibare’s series Rage of the Ballet Gods. The figures will be on view in the museum’s rotunda from May 7th to November 6th, 2016, as part of the museum’s year-long centennial celebration.
The Rotunda Projects series will engage visitors with experimental, provocative, and compelling works in a variety of styles and employing diverse materials created by internationally recognized and emerging artists.
POP! at Stephen Friedman Gallery
16 March 2013 - 20 April 2013
Stephen Friedman Gallery is delighted to announce a solo exhibition of new works by Yinka Shonibare MBE.
Exploring the corruption and excess of the current economic crisis, the show is a raucous celebration of its decadence and debauchery, sharply revealing its dark underbelly. With characteristic wit and critique, Shonibare explores the fetishisation of commodities rife in a society where luxury goods now take the place of religious iconography. Through the lenses of art historical homage, the exhibition depicts a cross section of cultural and chronological filters in Shonibare's most ambitious works to date.
POP! heralds a new direction for the artist in terms of scale, social commentary and power. Carrying a strong message while retaining real beauty and cunning wit, Shonibare presents a most impressive and powerful body of work.
The British Library
Hardback books, Dutch wax printed cotton textile, gold foiled names, five wooden chairs, five iPads, iPad stands, headphones, interactive Application and antique wind-up clock Dimensions: Variable © 2014 Yinka Shonibare MBE
End of Empire
Co-commision by 14 - 18 NOW and Turner Contemporary Margate.
22nd March - 30th October 2016
In a new commission, Yinka Shonibare, MBE, one of the leading artists at work in the UK, explores how the new alliances forged in the First World War changed British society forever and continue to affect us today.
Shonibare’s new work features two of his signature figures attired in African fabrics, their globe-heads highlighting the countries involved in WW1. Offering a metaphor for dialogue, balance and conflict, the entire work pivots almost imperceptibly in the gallery space, symbolising the possibility of compromise and resolution between two opposing forces.
How has immigration contributed to the British culture in which we live today? How have immigrants shaped what it means to be British? These are the questions Shonibare asks in The British Library, a sculptural work presented alongside End of Empire at Turner Contemporary. Shelves of books, many bearing the name of an immigrant who has enriched our society (from TS Eliot to Zaha Hadid), remind us that the displacement of communities by global war has consequences that inform our lives and attitudes today.
Adam and Eve
Fibreglass mannequins, Dutch wax printed cotton textile, fibreglass, wire, leather and steel baseplates 285 x 230 x 115 cm © 2013, Yinka Shonibare MBE
Recreating the Pastoral
Solo Exhibition at VISUAL Carlow Ireland
6th February - 19th June
Recreating The Pastoral draws the viewer through a series of installations which juxtapose elements of elaborate 18th and 19th C European dress and courtly behaviour with contemporary political sensitivities expressed through Shonibare's use for Dutch wax cotton cloth, itself a culturally ambigious material replete with a colonial history of appropriation.The installations question Euro-centric histories, and are a powerful expression of the complexities inherent in contemporary discourse on post-colonialism and identity. Shonibare's Jardin d'Amour mimics the frivolity and excess of 18th C Europe. The theatrical staging of works. framed within an elaborate artificial maze draw references to the colonial relationship to landscape, and the control and creation of spaces for pleasure by a powerful elite.
Cannonball Paradise, Gerisch-Stiftung, Neumünster, Germany 2014.
27th April - 12 October
‘Cannonball Paradise’ is Shonibare’s first large-scale solo exhibition at a German art institution and comprises around 20 installations, photographic works and videos. The artist, who grew up in Nigeria and now lives in London, achieved his full international breakthrough with his participation in documenta 11 in 2002. Further larger solo exhibitions followed at institutions including the Yorkshire Sculpture Park, the Museum of Contemporary Art in Sydney and Tate Britain in London.
Yinka Shonibare MBE is the second artist of African origin after Romuald Hazoumè (2011) to be invited by Herbert Gerisch Foundation to exhibit. And just like Hazoumè, Shonibare has been asked to stage a large solo exhibition on African perceptions of paradise. The background to all this is the Foundation’s landscaped park which is based on an Arcadian and idyllic tradition. This becomes particularly apparent when it comes to the vibrantly multi-coloured, six metre high ‘Wind Sculpture’ in the Gerisch Foundation sculpture park, which Shonibare produced specifically for this exhibition. It is as if a huge wax print cloth were fluttering across the lawn. This type of cloth is a symbol of Africa in many of Shonibare’s works and can only be understood within the context of colonial history. Political and cultural realities are thus broken, reflected and made topical on many different levels against a paradisiacal setting.
The William Morris Family Album, William Morris Gallery, London, England 2015
7th February - 7th June
The Gallery's first major commision: a Morris-inspired photographic exhibition by Turner Prize nominee Yinka Shonibare MBE.
The Victorian age, the legacy of Empire and the global textile trade are central themes in the work of Yinka Shonibare. In this new exhibition the internationally acclaimed British Nigerian artist turns his attention to William Morris. By inviting Waltham Forest residents to help recreate photographs of Morris’s family, he encourages viewers to reflect on the realities of equality in both Morris's time and our own.
Pièces de Résistance, DHC/ART Foundation for Contemporary Art, Montréal, Québec 2015
29th April - 20th September
Yinka Shonibare MBE employs a multiplicity of strategies, including auto-ethnography and humour in combination with art historical and literary references, to deliver a body of work that is simultaneously seductive and subversive. His critical reflection on power relations between Africa and Europe is delivered through a formal treatment that is both lavish and decadent. In a related area of investigation, he reveals his affection and respect for British culture and institutions while simultaneously questioning class and privilege. It is this ambivalence that most productively unsettles simple binaries and reveals the intricacies involved in negotiating his subject matter.
Rage of the Ballet Gods, James Cohan Gallery, New York, USA 2015
30th April - 20th June
James Cohan Gallery is pleased to announce the upcoming exhibition by Nigerian-British artist Yinka Shonibare MBE entitled Rage of the Ballet Gods, opening on April 30th running through June 20, 2015.
In this new body of work, Shonibare contemplates the changing state of the Earth’s climate and the human instinct for survival in the face of the extreme weather experienced worldwide. The artist is well known for his employment of historical events as metaphors with which to explore current geo-political and social conditions, and Rage of the Ballet Gods points to the progress of rational thought—a legacy of the Age of Enlightenment—that underlies the scientific advances propelling us towards environmental doom. Inspired to make a poetic statement, Shonibare turns to mythology to uncover this paradox. The exhibition is divided in two parts: Rage and Escape.
In Rage, the Greek gods Apollo, Zeus and Poseidon are depicted as ballerinas. These iconically male figures have been transformed into emblems of female grace, with detailed tutus made of Shonibare’s signature Dutch wax fabric. Yet these beautiful ballerina goddesses are dangerous, in a violent rage against humans for their willful and continual destruction of Earth. They carry deadly weapons—a gun, a knife and a sword—along with their familiar trident, thunder bolt and golden lyre. Their heads of Victorian-style globes map the occurrence of lightening, warming and tsunamis around the world.
Shonibare faces the subject with characteristic playfulness as he reveals the irony of the situation: throughout mythology, it is the Gods who used weather events such as storms, earthquakes and droughts to punish humans. In Homer’s Odyssey, the jealous Poseidon punishes the hero Odysseus with violent storms that turn his ship around and keep him, time and time again, from returning to his home to Ithaca. Here, however, the Gods are enraged because the humans have usurped their prerogative as creators of terrifying weather events. Shonibare’s gods are upset that traditional order of the world has been turned upside down and that the transcendent truths, on which the history of mankind is based, are disappearing.
The four walls of the main gallery—North, South, East and West—features photographic tondos of Medusa based on Caravaggio’s portrait in the Uffizi Gallery, Florence. The four works in the series depict women of different races—European, Asiatic, Indian and African—representing the four corners of the world. Medusa broke her vow of celibacy and married the god Poseidon, for which, as punishment, the goddess Athena turned her golden locks into a morass of snakes. Shonibare’s Medusa has a tangle of snake hair made from African textiles.
Escape, the second part of the exhibition, concerns escape from the apocalypse. The works serve as a humorous yet prophetic warning that we may need to seek new ground should the Earth become inhabitable. Shonibare’s Refugee Astronaut is a disheveled space traveler toting his worldly possessions on his back—pots, pans, butterfly net, stool and family photographs—ready to find a new oasis. A pair of Butterfly Kidsculptures depict a boy and girl sprouting wings, metamorphosing to fly away and escape.
Rage of the Ballet Gods sees Shonibare connecting with myth to find solace in the fantastical during an unnerving time. He hopes to provoke what the scholar Joseph Campbell called the “psychic unity of mankind,” which Campbell felt was engaged through the poetic expression of mythology. The artist reaches back to “an experience of the eternal source and returns with gifts powerful enough to set society free.”
Concurrent with the gallery show, Shonibare is featured in three solo exhibitions: Colonial Arrangements at the historic Morris-Jumel Mansion in Washington Heights, NY (opening May 1, 2015); Pièces de résistanceat the DHC/Art foundation in Montreal (opening April 28, 2015); and his first Asian retrospective exhibition at the Daegu Art Museum in Korea (opening June 2015).
Colonial Arrangements, Morris Jumel Mansion, New York, USA 2015
1st May - 31st August
Elaborate, colorful, seductive and quizzical, Yinka Shonibare's renowned, textile-based art has been the focus of more than 50 solo museum and gallery exhibitions worldwide. The latest, Colonial Arrangements, will take place, from May 1st to August 31st, 2015, at Morris-Jumel Mansion. It's a fitting match, with the Mansion's lovingly preserved 18th- and 19th-century interiors set to serve as a baroque backdrop for Shonibare's extraordinary sculpture, including an entirely new, never-before-seen work commissioned by the Mansion. It's the most ambitious art show in Morris-Jumel history.
Yinka Shonibare MBE, Daegu Museum, Daegu, South Korea 2015
30th May - 18th October
British-born Nigerian artist Yinka Shonibare MBE (b.1962, London) is an acclaimed contemporary African artist known for his superb aesthetic sensibility. Shonibare contracted a rare inflammatory disease when he was 18, resulting in physical disability. Overcoming such unforeseen adversity through sheer willpower, he went on to study art at university. His singular view of the world is expressed in his art. As a dark-complected individual raised in a white society, Shonibare unflinchingly examines how Eurocentrism and racism are deeply and unthinkingly embedded in Western society. However, his works are approachable, for his criticism of imperialism, colonialism and the distortions of history that lie at the root of racism and Eurocentrism are tempered by a sense of humor.
MCA Chicago Plaza Project: Yinka Shonibare MBE, Museum of Contemporary Art Chicago, Illinois, USA 2014
June 16th - November 10th 2014
Shonibare’s MCA Plaza installation includes three of his new Wind Sculptures. Nearly 20 feet high, each sculpture captures the movement of a billowing bolt of fabric. Their design was inspired by the sails of ships whose patterns derived from Dutch wax fabrics. The artist chooses these iconic fabrics to exemplify how signs of national or ethnic identity are culturally constructed.
Shonibare’s installation is the fourth MCA Plaza Project. The series previously featured work by Amanda Ross-Ho (2013), Martin Creed (2012), and Mark Handforth (2011). Shonibare’s work is also included in the exhibition Earthly Delights (June 28–November 30, 2014).
This exhibition is organized by Naomi Beckwith, Marilyn and Larry Fields Curator at the Museum of Contemporary Art Chicago.
Making Eden, Blain|Southern, Berlin, Germany 2014
15 February – 19 April 2014
Blain|Southern is delighted to present Making Eden, the first solo gallery exhibition in Berlin by internationally acclaimed artist Yinka Shonibare MBE.
Bringing together a body of entirely new work across two floors of the gallery, Making Eden explores the theme of revolution, drawing a stark contrast between the utopian ideals inherent in anarchic action and the darker realities of its consequences. Particularly pertinent in today’s global climate of social and political disillusionment, Shonibare explores both historical and contemporary cycles of revolution, seeking to demonstrate the destructive patterns of human behaviour that repeat themselves across time.
Making Eden interprets literally the notion of overthrowing the current social order in favour of an imagined ‘better place’. The exhibition functions in two halves: the ground floor mirrors this perceived utopian realm – a paradise that is reminiscent of heaven itself, while the upper floor is a representation of the grotesque reality of the corrupt and the fallen, as if the viewer is walking into hell. Indeed, Shonibare once described how ‘enlightened intentions, in sum, do not necessarily produce enlightened results’. This view is reflected in the horrific reality of the violence and death depicted, which has frequently occurred as a direct result of many revolutions.
Yinka Shonibare, Brand New Gallery, Milan, Italy 2014
26th March - 10th May 2014
Brand New Gallery is proud to introduce the first solo exhibition in an Italian gallery of the British-born Nigerian artist Yinka Shonibare MBE, opening on the 26th of March and running through May 10th. In this multi-part exhibition of sculptures, photography, and film, Shonibare explores the concept of destiny as it relates to themes of desire, yearning, love, power, and sexual repression.
Following the installation of the artist’s widely acclaimed work “Nelson’s Ship in a Bottle” in Trafalgar Square in London, Shonibare continues his explorations of Lord Nelson, the figurehead of the British Empire at its apotheosis. During the exhibition, the gallery will feature two sculptural installations of costumes with period details and his signature vibrantly patterned fabrics, a hallmark of his work, as well as a series of five photoworks entitled “Fake Death Pictures”. On view is the film “Addio Del Passato” (So Closes My Sad Story) in which the character of Lord Nelson’s estranged wife, sings the eponymous aria from the last act of Verdi’s opera, “La Traviata”.
Yinka Shonibare MBE: Magic Ladders, The Barnes Foundation, Philadelphia, Pennsylvania, USA 2014
24th January - 21st April 2014
The Barnes Foundation presents Yinka Shonibare MBE: Magic Ladders from January 24, 2014 through April 21, 2014. A British artist of Nigerian descent, Shonibare has exhibited extensively in the United States and Europe. His work alludes to European art and intellectual history and explores race, slavery, authenticity, and commerce. The works in the exhibition—approximately 15 sculptures, paintings, photographs, and a room installation—address themes of education, opportunity, and scientific and cultural discovery. This is the artist’s first major exhibition in Philadelphia, since his residency at the Fabric Workshop and Museum in 2004 and it includes a commission entitled Magic Ladders.
“Several of Shonibare’s sculptures refer to the Enlightenment and its ideals of rationality and exploration,” says Judith F. Dolkart, deputy director of art and archival collections and Gund Family Chief Curator at the Barnes. “Shonibare shares Dr. Barnes's belief that education can improve individual lives, benefitting society as a whole. Barnes turned his pharmaceutical factory into a progressive and integrated workplace, where he devoted two hours of each eight-hour workday to discussions on philosophy, psychology, and aesthetics with his employees.”
The Foundation’s collaboration with Shonibare pays homage to Barnes’s interest in contemporary art and artists. The centerpiece of the exhibition is the Barnes commission Magic Ladders, which explores childhood learning and the opportunities that education can create. In considering the exhibition and commission, the artist reviewed the complicated and decades-long correspondence between Barnes and Leo Stein, a fellow collector and an important advisor and friend as Barnes built his art collection and educational foundation. In Magic Ladders, three children ascend ladders constructed of books written or read by Albert Barnes. Other recent sculptures in the exhibition, Planets in My Head, Philosophy (2011); Planets in My Head, Physics (2010); and Pedagogy Boy/Boy (2011), echo the theme of the magical, transformative discoveries of childhood learning.
The exhibition invites viewers to reflect upon Barnes’s collecting practice, particularly in terms of its connections to colonialism. One of the first American collectors to regard African sculpture as fine art rather than ethnographic curiosity, Barnes displayed African masks and figures alongside paintings by Pablo Picasso and Amedeo Modigliani. A champion of education for African Americans, Barnes made his collection of African art broadly available to black readers through Opportunity magazine. Ironically, his acquisition of African art was made possible by the imperialist colonization of Africa, a theme explored in Shonibare’s monumental Scramble for Africa (2003).
The British Library, HOUSE and Brighton Festival co-commission 2014
3rd Jun - 22nd June
Yinka Shonibare MBE’s new site-specific installation explores the impact of immigration on all aspects of British culture and considers notions of territory and place, cultural identity, displacement and refuge.
Brighton Museum’s Old Reference Library becomes a repository for those, both celebrated and unfamiliar, who as immigrants to this country, made unique contributions to what we regard as ‘British’ culture. Filled with books colourfully bound in Shonibare’s trademark wax cloth (itself a cross-cultural hybrid of Indonesian design and Dutch manufacture), the gold embossed spines identify individuals such as T.S. Eliot, Henry James, Hans Holbein, Kazuo Ishiguro, Zaha Hadid, Mick Jagger, Darcey Bussell, George Frideric Handel, Hammasa Kohistani, Liam Gallagher and Noel Gallagher, Amartya Sena, Anish Kapoor and many more.
FOCUS: Yinka Shonibare, MBE, Modern Art Museum of Fort Worth, Texas, USA 2013
January 13th - March 24th 2013
The Modern's Director's Council FOCUS season begins with two solo exhibitions to run concurrently, one featuring the work of British/Nigerian artist Yinka Shonibare MBE and the other featuring the work of New York-based artist Gary Simmons.
Shonibare explores colonialism and the intricate ways in which it has shaped, and continues to shape, cultural identities. He is well known for his life-size sculptural tableaux featuring staged, headless mannequins dressed in elaborate period garments. In these works, the materials and designs of the original clothing are replaced with batik, a colorful and ornately patterned fabric. The story of batik itself speaks to the notion of colonization and its effects: it originated in Indonesia; then, by way of imperial explorers, it was introduced to West Africa, where it was appropriated and now has its strongest associations; and indeed its greatest exporters are not in Africa at all, but are Dutch and British. By presenting his version of historical (often white, European) figures dressed in batik, Shonibare "Africanizes" the subjects, subversively pointing out a multitude of deep-rooted mythologies, falsehoods, and prejudices that complicate the dominant narrative of history and identity.
FABRIC-ATION, GL Strand, Copenhagen, Denmark 2013
21st September - 24th November 2013
Autumn at GL STRAND offers one of the absolutely major names on the international contemporary art scene. British-Nigerian Yinka Shonibare is currently arousing the enthusiasm of the public and reviewers in England. Now the Danish public will have a chance to make the acquaintance of the artist’s fascinating universe of headless soldiers and Victorian ballerinas in his first major solo show in Scandinavia.
Over the past 15 years Yinka Shonibare has created an iconic oeuvre of headless mannequins that bring to life famous moments of history and art history. With great commitment and equal degrees of seriousness, wit and humour he has mounted an assault on the colonialism of the Victorian era and its parallels in Thatcher’s Britain. In recent years he has widened the scope of his subjects to include global news, injustices and complications in a true cornucopia of media, for example film, photography, painting, sculpture and installation – all represented in the show at GL STRAND.
FABRIC-ATION mainly gathers works from recent years, as well as a brand new work created for the exhibition, Copenhagen Girl with a Bullet in her Head. The subjects include Admiral Nelson and his key position in British colonialism, the significance of globalization for the formation of modern man’s identity, multiculturalism, global food production and the revolutions of the past few years in the Arab world. In other words, Shonibare is able, through an original and captivating universe, to present us with the huge complexity that defines our time, as well as the underlying history.
The title of the exhibition refers to Shonibare’s use of colourful patterned fabrics in his art; fabrics that are associated with Africa, but which have their origin in Holland and were intended for the Indonesian market, and which, typically for Shonibare, illustrate that things are rarely what they seem at first glance.
FABRIC-ATION was originated by YSP - Yorkshire Sculpture Park, England, 2013.
Dreaming Rich, Pearl Lam Galleries, Hong Kong, China 2013
November 9th - January 9th 2014
HONG KONG – Pearl Lam Galleries is delighted to present the first solo exhibition in Hong Kong by renowned British-Nigerian artist Yinka Shonibare MBE (RA); Dreaming Rich, opening on 19 November. The exhibition continues Shonibare’s exploration of colonialism and post-colonialism with a series of all new works commenting on Hong Kong’s modern day relationships with labour, power and wealth.
Dreaming Rich is a characteristically exuberant and colourful critique of wealth, which simultaneously acknowledges society’s complicity with it. Shonibare’s questioning of cultural and national definitions is a pertinent one for Hong Kong, whose identity has been affected by the conflicting influences of Chinese and British colonialism. The exhibition offers a social commentary on Hong Kong’s fascination with luxury commodities, and how those have come in part a medium for social identity.
Yinka Shonibare MBE: Egg Fight, Fondation Blachère, Apt, France
May 23rd - September 20th 2014
Cet été, la Fondation Blachère présente, dans son centre d’art à Apt dans le Vaucluse, une exposition monographique ainsi qu’une nouvelle installation lumineuse réalisée en collaboration avec l’artiste anglo-nigérian Yinka Shonibare MBE.
L’exposition est organisée autour de la puissante installation Egg Fight, qui vient juste d’entrer dans la Collection Blachère. Cette représentation du conflit, basée sur l’ouvrage Les Voyages de Gulliver de Jonathan Swift où l’on narre une lutte de longue date, est une allégorie à peine voilée des différences religieuses entre les Protestants et les Catholiques, qui illustre parfaitement la fascination de Shonibare pour le choc entre culture, politique et société.
Pendant que les deux figures engagées dans la « bataille des œufs » (Egg Fight) se préparent au combat au travers d’une division physique, les protagonistes de la vidéo et des photographies Odile & Odette, réalisées en collaboration avec le Royal Opera House de Londres, se reflètent l’une et l’autre de chaque côté d’un cadre Baroque ornementé. Ici, l’artiste crée une complexe et subtile interaction entre deux danseuses, pour lesquelles la dualité des personnages est mise en avant par la différence de couleur.
Est aussi inclus l’emblématique et sculpturale installation The Crowning, inspirée des œuvres de Jean-Honoré Fragonnard, exposée en 2007 au Musée du Quai Branly à Paris. Cette œuvre, comme l’installation murale Little Rich Girls, établit un lien entre les loisirs, l’opulence, les plaisirs et l’exploitation du travail des esclaves, posant des questions sur la colonisation et ses conséquences. L’excès rococo et la romance parfumée de The Crowning intensifie la collision entre pouvoir et moralité, une bataille qui peut mener à la révolution, également illustrée par Revolution Kid (Calf), et à la mort, une fatalité représentée dans la série photographique des Fake Death. La représentation du choc par Shonibare, à la fois littéral et symbolique, continue avec Climate Shit Drawing, une série d’œuvres qui se lancent dans le conflit des changements climatiques, un champ de bataille mondial à la fois nouveau et primordial.
Egg Fight et les œuvres majeures qui l’accompagnent, prêtées par plusieurs institutions, galeries et collections privées, relatent l’obsession de Shonibare pour les batailles entre des forces opposées, à la fois réelles et métaphoriques, que ce soit entre ou sur la religion, l’opulence, le pouvoir, la moralité, le plaisir, la colonisation, l’environnement ou encore sur les arts.
Ces clashes sont parfaitement résumés par le tissu emblématique de son travail, communément utilisé pour les robes africaines. C’est en fait un textile produit en masse, manufacturé en Hollande, d’après des motifs de wax originaires d’Indonésie. Prévu pour une exportation massive, ce tissu a été rejeté par les indonésiens et est devenu populaire dans l’ouest de l’Afrique, au moment où les nations émergentes se sont créé une identité lors de l’abolition du joug colonial. Les routes commerciales, qui produisent et consomment ce tissu, sont utilisées par Shonibare pour analyser la production complexe de l’identité et du pouvoir dans la période post-coloniale. Ces motifs seront reproduits dans la nouvelle installation extérieure de l’artiste, une robe Victorienne lumineuse de 4 mètres de haut, réalisée en collaboration avec Blachère Illumination, qui sera exposée dans le jardin de la Fondation.
Alien Man on Flying Machine
Steel, aluminum, brass, Dutch wax printed cotton textile and rubber. 250 x 450 x 450 cm. © 2011, Yinka Shonibare MBE.
Art Stage 2016
Art Stage 2016 Singapore, Pearl Lam Galleries Special Presentation.
VIP Preview: 20 January, 3–6pm / Vernissage: 20 January, 6–9pm.
Fair Dates: 21st - 24th January.
Pearl Lam Galleries is pleased to announce its participation in the 2016 edition of Art Stage, presenting artworks in the Galleries section at stand A10 and showcasing a special installation work by artist Yinka Shonibare MBE, located near the entrance of the fairgrounds. Art Stage is Singapore’s preeminent international art fair and continues to attract top galleries from around the world in its anticipated sixth edition. The fair returns to the Sands Expo and Convention Centre on Level B2 of the iconic Marina Bay Sands in Singapore and will be open to the public from 21–24 January, 2016.
A special presentation of a major installation by acclaimed British-Nigerian artist Yinka Shonibare MBE will be featured as an extension of the main Pearl Lam Galleries stand. The installation brings together three works from his Invasion, Escape: Aliens do it right! Series: Alien Man on Flying Machine, Alien Child, and the suspended Alien Woman on Flying Machine,
Boy Balancing Knowledge
Fibreglass mannequin, Dutch wax printed cotton textile, books, globe, leather and steel baseplate. 156 x 94 x 120 cm. © 2015, Yinka Shonibare MBE.
Solo exhibition at Pearl Lam Galleries Singapore
Opening Reception: 21st January 2016 4pm - 7pm
Exhibition Dates: 21st January - 13th March.
Pearl Lam Galleries is delighted to present an exhibition of work by British-Nigerian artist Yinka Shonibare MBE, opening on 21 January, 2016. In contrast with the artist’s previous work, which addressed universal political concerns, this new series returns to the essence of the imagination, an exploration of the subjective and the subconscious that is inspired by surrealism. For the first time, the artist will utilise his childhood memories in Nigeria, dividing the exhibition into two parts: new surrealist sculptures along with several screen prints.
Shonibare draws on surrealism as both an artistic and political movement aimed at the liberation of the human being from the constraints of capitalism, the state, and the cultural forces that limit the reign of the imagination. The first part of the exhibition comprises two new fantastical sculptures based on the artist’s childhood memories when he lived in Lagos, Nigeria. Shonibare was born in Britain, but his family moved to Lagos when he was three years old. These dreamlike sculptures evoke poetic surrealist juxtapositions, exploring the artist’s half-remembered childhood tales, as well as the constructed and fictitious memories of childhood, folklore, and tradition.
Included in the show is Boy Sitting Beside a Hibiscus Flower, a sculpture based on the artist’s memory of his childhood garden in Nigeria. In a dreamlike scenario a boy sits under a giant hibiscus flower shaded from the hot sun, while in Ibeji (Twins) Riding a Butterfly, the artist explores Nigerian folklore about the significance of twins. Known as ‘Ibeji’ within Yoruba culture, twins are a source of anxiety and celebration, regarded as divine beings capable of bringing either affluence or misery to their parents.
In the remaining new sculpture in the show, the artist remembers making magical imaginary journeys through books. In Girl Balancing Knowledge, a girl precariously balances books on her left hand, likely to collapse in a heap. She kicks her right foot over to her left as if in a silent, surreal dance of joy. Education was highly valued in Shonibare’s family, which is why he returned to Britain at 17 years old to sit his A-levels. This work acts as a metaphor that bridges his time in Lagos and London, a move that was driven by his hunger for knowledge.
The artist’s trademark material is the brightly coloured African batik fabric he purchases at Brixton market in London, which can be seen throughout the exhibition. The fabric was inspired by Indonesian design, mass-produced by the Dutch, and eventually sold to the colonies in West Africa where it became a new sign of African identity and independence in the 1960s. The fabric makes up the clothes on the figures of Shonibare’s new sculptures.
For the first time at Pearl Lam Galleries, this exhibition will spread across two spaces at Gillman Barracks. A new space near block 5 will be home to the artist’s new body of work, while Pearl Lam Galleries’ original space in block 9 will be transformed into a screening room which will show two separate documentaries about Yinka Shonibare MBE, allowing visitors to find out more about the artist’s life and practice.
“I’m delighted to be welcoming Yinka Shonibare to our Singapore gallery for his first exhibition here, following on from the success of his Hong Kong show in 2013. Stimulating an artistic discourse is important to Pearl Lam Galleries, and while Yinka’s new body of work draws on surrealism, his work continues to comment on cultural identity, colonialism, and post-colonialism, themes very much relevant to a Singaporean audience.”
—Pearl Lam, Founder, Pearl Lam Galleries
Selected Works, Gdańsk City Gallery, Poland
30.08.2013 - 31.12.2013
Yinka Shonibare: Selected Works
30.08.2013 - 31.12.2013
Curator: Patrycja Ryłko
A solo exhibition Selected Works toured two venues in Poland; Gdansk City Gallery and Wroclaw Contemporary Museum.
The exhibitions featured works, including the Fake Death series, Addio Del Passato and Revolution Kid (Fox Girl).
Gdansk City Gallery 2 - 29 November to 31 December 2013
Yinka Shonibare MBE, Royal Museums Greenwich, London, England 2013
18th September 2013 - 23 February 2014
The contemporary arts programme at Rotal Museums Greenwich continues with a series of revent works by one of Britain's leading artists.
Yinka Shonibare MBE was born in London in 1962 and moved to Lago, Nigeria, at the age of three. He returned to London to study Fine Art and graduated from Goldsmiths as part of the 'Young British Artists' generation.
Shonibare's work interrogates origins, cultural exchange and authenticity. It is instantly recognizable thanks to the repeated use of Dutch-wax fabric. Inspired by Indonesian batik and first produced by the Dutch for a European market, this brightly coloured printed cotton has now become a powerful symbol of West African identity.
The exhibition celebrates the arrival here of 'Nelson's Ship in a Bottle' by inviting the artist to infiltrate annd occupy the Royal Museums Greenwich sites. It encourages us to look at the National Maritime Museum collections with fresh eyes, and ask different questions about out maritime and stargazing past
Revolution Kid (Fox)
Mannequin, Dutch wax printed cotton, fibreglass, leather, taxidermy fox head, blackberry and 24 carat gold gilded gun 119 x 66 x 120cm, (46 7/8 x 26 x 47 1/4in)
Yinka Shonibare, MBE: FABRIC–ATION at Yorkshire Sculpture Park
2 March – 1 September 2013 | Underground Gallery, Chapel, YSP Centre and open air
In March 2013 YSP presents the UK’s most extensive exhibition to date by British-Nigerian artist Yinka Shonibare, MBE. FABRIC-ATION features over 30 works made between 2002 and 2013, including sculpture, film, photography and painting, many of which are shown in the UK for the first time. They include flying machines, aliens, toy paintings, food fairies, revolutionary children, spacemen and ballerinas.
The exhibition marks the premier of a new series of large sculptures for the public realm – two Wind Sculptures, which will be sited in the Park’s 18th century-designed landscape. Each measuring over six metres in height and richly painted with Shonibare’s signature batik fabric pattern, they will appear like large, glorious handkerchiefs caught by the wind.
Addressing issues pertinent to today’s society in Shonibare’s practice – the complexities of contemporary identity, dislocation, multiculturalism, global food production, corporate power and revolution – the exhibition traces how Shonibare has framed these concerns within a historical context, investigating the shaping role of the British Empire and the colonial past. The exhibition is accompanied by a major YSP publication, including texts by Hans Ulrich Obrist, Dr Rebecca Schneider, and Jean Fisher.
Yinka Shonibare's Africa Weekend: Deloitte Ignite 2012
This year’s Deloitte Ignite is curated by critically acclaimed artist, Yinka Shonibare, MBE, celebrated for works including Nelson’s Ship in a Bottle, which he made for the Fourth Plinth in Trafalgar Square. His vision for Deloitte Ignite 2012, Africa Weekend, is a celebration of traditional African and avant-garde arts and culture, expressing Africa’s global contribution to the contemporary arts world.
Please see website for more details http://www.roh.org.uk/about/deloitte-ignite
Nelson's Ship in a Bottle
2010 Yinka Shonibare, MBE
HMS Victory Returns to Trafalgar
Yinka Shonibare, MBE's Fourth Plinth Ship To Set Sail in May
The next commission for the Fourth Plinth, Nelson's Ship in a Bottle, by leading Anglo-Nigerian artist Yinka Shonibare will be unveiled in Trafalgar Square on the morning of Monday 24 May 2010.
Commissioned by the Mayor of London and supported by Arts Council England with sponsorship from Guaranty Trust Bank of Nigeria, Nelson's Ship in a Bottle is a scale replica of HMS Victory in a giant bottle.
The artwork will be the first commission on the Fourth Plinth to reflect specifically on the historical symbolism of Trafalgar Square, which commemorates the Battle of Trafalgar, and will link directly with Nelson's column. It is also the first commission by a black British artist.
The ship's 37 large sails will be made of richly patterned textiles commonly associated with African dress and symbolic of African identity and independence. The history of the fabric reveals that they were inspired by Indonesian batik design, mass produced by the Dutch and sold to the colonies in West Africa. Tying together historical and global threads, the work considers the legacy of British colonialism and its expansion in trade and Empire, made possible through the freedom of the seas that Nelson's Victory provided.
Yinka Shonibare says his piece will reflect the story of multiculturalism in London:
"For me its a celebration of London's immense ethnic wealth, giving expression to and honouring the many cultures and ethnicities that are still breathing precious wind into the sails of the United Kingdom. A ship in a bottle is an object of wonder. Adults and children are intrigued by its mystery. How can such towering masts and billowing sails fit inside such a commonplace object? With Nelson's Ship in a Bottle I want to take this childhood sense of wonder and amplify it to match the monumental scale of Trafalgar Square."
Yinka Shonibare's Nelson's Ship in a Bottle is sponsored by Guaranty Trust Bank who are also supporting Chris Ofili's mid-career survey exhibition at Tate Britain, on view until 16 May 2010. 2010 marks the 50th anniversary of Nigerian Independence. In London this will be marked by these two important exhibitions by leading international artists of Nigerian descent.
Yinka Shonibare: Threads of Art
A short documentary about the use of batik fabric in the sculptural works of Yinka Shonibare.
Looking up... Yinka Shonibare, MBE.
NMNM, Villa Sauber, 17 avenue Princess Grace, MC98000 MONACO
The “Training for a Museum” exercise continues, with artists invited to take an alternative look at the Nouveau Musée National de Monaco’s collections. In 2010, Yinka Shonibare, MBE, will inaugurate this exercise in reinterpretation at the Villa Sauber with a journey into the imaginary world of the stage.
In his work, Yinka Shonibare, MBE (Member of the Order of the British Empire), a Nigerian artist who lives in London and was born there in 1962, likes to unite different worlds in a single space, since he comes from the multiculturalism that constitutes our world today. His reflections on identity and memory mix together his two home cultures in a highly original aesthetic fashion. Bringing Dutch wax into a Victorian world and using it to dress the middle classes that he represents with headless mannequins proved to be an artistic gesture that made him instantly recognisable. A retrospective of Yinka Shonibare’s work has just been shown at the Brooklyn Museum in New York, followed by the Smithsonian Institute in Washington, and his ’ project will be inaugurated in Trafalgar Square on May 24, 2010.
Models, sculptures, photographs and videos: the works of Yinka Shonibare, MBE, will form an Ariadne’s thread inviting us to discover collections that belong to the artistic history of the Principality but have never or rarely been shown. Monte Carlo has been and is still a particularly vibrant artistic hub for stage and performance arts. We will encounter the Visconti “maquétothèque” of the Monte-Carlo Opera, Eugène Frey’s fabulous luminous decors, the Marquis du Périer de Mouriez’s strange collection of transparent paintings, plus the religious boxes from the Galéa Collection made by the Provencal Carmelites and a thousand other from the reserve collection that evoke the cabinets of curiosities of the 17th and 18th centuries, the ancestors of European museums. A costume conservation workshop will run throughout the exhibition, providing an opportunity for the public to get to know the hidden aspects of a museum.
I Know Something About Love
9 March - 22 May 2011
This exhibiton at Parasol unit foundation for contemporary art was devoted to works by Yang Fudong, Shirin Neshat, Christodoulos Panayiotou and Yinka Shonibare MBE. Each of these artists explores the theme of love in different times and cultures through the spectrum of their personal experience, observation and commentary. The exhibition title takes its cue from a 1960s song written by Bert Berns and performed by The Exciters, in which there is the recurring lyric, ‘I know something about love’.
Who Knows tomorrow
Starting on 4 June, the Hamburger Bahnhof and three other National Gallery sites — the Old National Gallery, the New National Gallery and the Friedrichswerder Church — will be showing five well-known artists of African extraction under the title "Who Knows Tomorrow?". The artists represented are El Anatsui, Zarina Bhimji, Yinka Shonibare MBE, Pascale Marthine Tayou and António Olé.
National Museum of African Art Presents "Yinka Shonibare MBE"
A Mid-Career Retrospective of This Acclaimed Artist
November 3, 2009
Yinka Shonibare, one of the most celebrated artists working today, is the focus of an exhibition at the Smithsonian's National Museum of African Art. On view from November 10 through March 7, 2010, the exhibition features 21 dramatic paintings, photographic series, films and sculptural tableaux, including his famous headless mannequins that portray the complexities of cultural identity. "Yinka Shonibare MBE" is the most comprehensive exhibition of works by this 47-year-old London-based artist.
The exhibition occupies two levels of the museum, assembling works of art never before seen together. For the first time, Shonibare's ground-breaking early painting “Double Dutch” (1994) will be seen with the museum's "Black Gold" (2006) and a selection of innovative new sculptural works, including the artist’s first and only work to incorporate moving parts, “Headless Man Trying to Drink” (2005). Another innovation of this installation includes presenting Shonibare’s cinematic work, “Odile and Odette,” in an open-air theater alongside paintings and other media.
“This exciting and memorable retrospective will bring visitors a first-hand look at some of the most important contemporary pieces from a celebrated Nigerian artist,” said Johnnetta Betsch Cole, director of the museum. “We are proud to have this stunning exhibition open our two-year celebration ‘Nigeria: Then, Now and Forever,’ a series of exhibitions, public programs and special events showcasing the arts, culture and people of Nigeria.” This two-year-long celebration is co-chaired by Hajiya Turai Umaru Yar’Adua, the first lady of Nigeria, and educator and philanthropist Camille Cosby.
The works in Shonibare’s exhibition consider contemporary African identity and its relationship to historic colonial practices and neo-colonial policies through painting, sculpture, installation and moving image. “Shonibare is most widely recognized for the elaborate sculptural tableaux he creates of richly costumed, headless mannequins,” said Karen Milbourne, curator at the National Museum of African Art. These costumes are made from fabrics inspired by Indonesian batiks, but manufactured in Europe and sold in west Africa. Today, these vibrantly patterned textiles are closely associated with African identity, and yet they also signal the entangled relations that unite peoples and cultures around the world.
A work titled “Scramble for Africa” (2003) will be on view. It depicts various headless statesmen claiming their territory as they sit around a table carving up the continent of Africa in the late 1800s. Another work, “Black Gold I,” is the first in a set of paintings that explore the complex politics and economics of oil and connect Shonibare’s early explorations of themes of wealth, class and privilege in his art with contemporary global issues.
“These works are a testament to the contemporary understanding of colonial and post-colonial African identity,” said Rachel Kent, senior curator at the Museum of Modern Art in Sydney, Australia. “Never before have so many pieces of Shonibare’s work come together for public view.”
“The exhibit reflects the artificial construct of culture. It’s not about authentic African experience or the authentic British experience—it lies somewhere both between and separate,” said Shonibare.
Born in England in 1962 and raised in Nigeria, Shonibare currently lives and works in London, where he has gained international attention by exploring issues of race and class through a range of media that includes sculpture, painting, photography and installation art. In 2005, he was awarded Member of the Order of the British Empire (MBE) by Queen Elizabeth II.
As with Shonibare’s sculptural pieces, the artist’s photographic works draw upon the Victorian era, but here the artist manipulates expectations by inserting himself into the scenes. Most recently, Shonibare has begun to work with moving images and he has created two cinematic works, “Un Ballo in Maschera” and “Odile and Odette,” in which he plays with the notions of black and white imbedded in Tchaikovsky’s “Swan Lake.” The Washington Ballet is choreographing a new piece, to be performed by South African rising star Andile Ndlovu, that will debut at the museum Feb. 6, 2010.
Shonibare has received numerous awards, including Barclays’ “Young Artists Award” (1992) and the Paul Hamlyn Visual Arts Award (1998), and was short-listed for the Citibank Photography Prize (1999). He received an Honorable Mention at the Venice Biennale (2001) and was short-listed for the celebrated Turner Prize. Shonibare was also recently selected for the Fourth Plinth in Trafalgar Square (2008). His works can be found in the permanent collections of the Art Institute of Chicago, Walker Art Center, The Tate Modern and the National Museum of African Art.
“Yinka Shonibare MBE” was organized and toured by the Museum of Contemporary Art in Sydney. For more information on the exhibit, visit http://africa.si.edu/exhibits/view.html. A behind-the-scenes blog chronicling the installation of the exhibition can be found ahttp://shonibare-nmafa.blogspot.com.
A variation of the exhibition was shown at the Brooklyn Museum earlier this year after it premiered at the Museum of Contemporary Art in Australia. The exhibit will have no other venues in the United States after it leaves the Smithsonian.
About the National Museum of African Art
The National Museum of African Art is America’s first museum dedicated to the collection, conservation, study and exhibition of traditional and contemporary African art. The museum is open daily from 10 a.m. to 5:30 p.m., except Dec. 25. Admission is free. The museum is located at 950 Independence Avenue S.W., near the Smithsonian Metrorail station on the Blue and Orange lines. For more information, call (202) 633-4600 or visit the National Museum of African Art’s Web site at africa.si.edu. For general Smithsonian information, call (202) 633-1000 or TTY (202) 633-5285.
To look at previous exhibitions see Press