Thursday, 28 May 2009

Le Petit marche @ La Saison Lagos

Le Petit Marche is BACK with a new INDOOR venue!! This month see’s the return of some old vendors, and of course new exciting ones.

The Line-up Includes:

Obsidian: For the discerning lady with a flair for the bold and unusual but with her own individual style. Sexy without being trashy, fun and spunky, an Obsidian girl sets herself apart and is the epitome of all that is chic and elegant

Grey: Independent designer

Eden: Belts and accessories

Alter Ego: Their style is mainly sophisticated with a lot of clean strong shapes and lines. They have patchwork skirts, breezy trapeze chiffon dresses, silk tunics and beaded silk cocktail sheaths.

Style Junky: Modern women’s wear from casual day dresses tops and bottoms to dressier evening wear. Accessories to die for and that extra bling!!

Beautiful earings, broaches, necklaces, rings and BLING. Livinia is known to style for top Nigerian magazines and fashion houses

Lagos Look: Classis Vintage dresses, skirts and tops. For a lady who has style, loves colour and wants pieces that will never go out of date.

VLR: Viv La Resistance!(VLR!) Is a fashion brand that allows its members the freedom to be whatever they want to be- their alter egos, super heroes or just play dress up! The brand creates funky, quirky, one off dresses and accessories .supercalifragelisticexpialidousous!! Is a word that best describes it!

Skin: Redefine your style with leather! Quirky leather bags, slippers, belts, clutches, purses in Mohair, Croc, snake, Lizards and Ostrich skin!

Mariam: Gorgeous Ladies underwear

Temi: Leather bags

The new cozy market ensures that you shop in comfort and style. La Saison offers a wide range of hot food, pastry and cold drinks.
We will now be open EVERY LAST SUNDAY OF THE MONTH!!....
La Saison is situated at 42, Raymond Njoku St, Ikoyi Lagos.
Le petit Marche will be on from 12 noon till 7pm…..
Come…Drink…and SHOP…!!!!

See you Sunday xxxx

Le Petit Marche for those who don’t know means small market. It creates an avenue for new/ established indigenous designers and entrepreneurs to network and get recognized. Our vendors feature stalls with a wide variety of merchandise from shoes, tee-shirts, Jeans, Dresses and bags including name brands, high street and vintage labels to Art and Jewelry.
Our new location ensures that you get all the perks of shopping in a market as well as comfort and style.

Again….Get your flip flops on and get ready to SHOP!!!

Contact : 0806 551 3536, 0706 237 4141 for stall enquiries and general info.

Wednesday, 20 May 2009

WONDERLAND by Nontsikelelo Veleko

National Arts Festival, Grahamstown 26 June – 5 July 2008

Internationally acclaimed artist Nontsikelelo Veleko’s extraordinary journey in photography started from an interest in exploring identity. Earlier, ongoing projects include The One’s on Top Won’t Make it Stop!, in which she directs her lens at public space through the documentation of graffiti, whereas www.notblackenough.lolo profiles prejudice and reductive stereotyping. Beauty is in the Eye of the Beholder! is an ongoing celebration of the South African ‘Born Free’ generation and their expression of identity through dress and fashion.

Veleko is currently stationed in Wonderland, which she describes as “a step further in investigating the social and emotional states of my surroundings – South Africa is my place of departure, by experience and location, but conceptually I am interested in the discovery of the world”.

On show will be new work, and whilst Wonderland contains thematic strands explored in previous bodies of work, for the first time these are displayed without distinction, creating a maze of images. She has produced a visual joyride through an idiosyncratic world full of surprises and contradictions.

However, Veleko’s work is not only concerned with surface and narrow definitions of beauty. Tumelo Mosaka, South African curator and critic based in New York states that, “Veleko’s images not only provoke analysis of the ways in which we define ourselves as individuals and as communities, but also more importantly critique the modes of representation which have defined how we consume images”.

Veleko recently participated in landmark exhibitions such as Snap Judgments: Positions in Contemporary African Photography at the International Centre for Photography in New York in 2006, Flow at the Studio Museum in Harlem, New York in 2008, and the seminal traveling exhibition Apartheid: The South African Mirror, which originated at the Centre de Cultura in Barcelona in 2007. Her work is represented in the collections of the International Centre of Photography in New York, the Brancolini Gimaldi Arte Contemporanea in Rome, Itally and the Johannesburg Art Gallery, amongst others.

Wonderland by Nontsikelelo Veleko will be traveling to the following venues throughout South Africa for the next few months:

Standard Bank Gallery, Johannesburg
9 June - 18 July 2009

McGregor Museum, Kimberley
3 August - 3 September 2009

Tuesday, 19 May 2009


For the second year, the Africa in Motion (AiM) film festival is inviting African filmmakers to submit short films of up to 30 minutes for the festival’s short film competition. In order to target the competition specifically towards young and emerging African film talent, filmmakers who enter a film for consideration must not have completed a feature-length film previously. Films entered must have been completed in 2006 or after.

A shortlist from all the entries will be selected in July and announced by the end of August 2009. From this shortlist, the competition winner will be chosen by a high profile jury and announced at an awards ceremony at the Africa in Motion festival in October 2009. The jury will consist of local and international film specialists and established African filmmakers.

All shortlisted films will be screened at the festival. In addition to the overall first prize selected by the jury, an audience choice award will be selected by the audience at the screenings and announced at the end of the festival.

The deadline for competition entries is 30 June 2009. Please read carefully through the submission guidelines and email the festival director Lizelle Bisschoff for further enquires at:

We accept entries from all filmmakers of African nationality working in Africa or abroad. We are particularly interested in giving exposure to young, emerging African filmmakers living and working in Africa. To this end, filmmakers who enter a film for consideration must not have completed a feature-length film previously. Films could be fiction, documentary, animation or experimental and shot in any format.

Only recent films directed by filmmakers of African nationality will be accepted. The film must have been completed in 2006 or after and could have been screened on television, at festivals and in cinemas previously.

Films should be no longer than 30 minutes.

We will only accept films in English or with English subtitles. Participants are responsible for all translation and subtitling, but please get in touch with us if you need advice/support on this.

The viewing copy should be on VHS PAL or DVD (any region). All films submitted should be accompanied by a completed entry form and all viewing copies should be clearly labeled with the title of the film and name of the director.

Unfortunately viewing copies and promotional materials submitted cannot be returned to the sender and will be stored in our festival archive. These are kept exclusively for our own research and non-commercial purposes.

All deliveries from outside the European Union should be marked with the phrase "no commercial value – for cultural purposes only". Applicants are responsible for the cost of posting the entry form and viewing copy to us.

The completed entry form and viewing copy should reach us not later than 30 June 2009. There is no entry fee.

We welcome stills, press releases and other promotional materials to accompany entries, which we might use for promotional purposes. Digital stills can be emailed to with the title of your film in the subject box. Digital stills submitted should be in JPEG format and must be at least 300 dpi and no less than 500KB.

Please note that if your film is shortlisted it is a requirement to supply us with high res stills. This is essential in order for us to properly and professionally publicise the short film competition and your film.

By submitting your film to the Africa in Motion short film competition, the copyright holder of your film authorises the festival to make clips of a maximum of three minutes available on online broadcast channels (such as the Africa in Motion YouTube channel and other online channels affiliated to the festival). The purpose of this is solely to promote the festival and your film.

We will contact all applicants in August 2009. If your film is shortlisted we will get in touch with you to arrange for a screening copy to be sent to us (screening copies could be on dvd, but should preferably be on Betacam SP PAL, Digibeta, 16mm or 35mm). Participants are responsible for the cost of sending the screening copies to the festival. The festival will cover the cost of returning/forwarding screening copies.

Completed entry forms and viewings copies should be posted by 30 June 2009 to:

Africa in Motion Film Festival
6 East Bay
North Queensferry
KY11 1JX
United Kingdom

To download an application form please visit:

Artsblog Live Week

Toynbee Studios, 28 Commercial Street, London E1 6AB
Nearest Tube - Aldgate East
Box office - 020 7650 2350 (Monday–Friday 1-6pm)


Log on to the Artsblog to see live footage of the Artsbloggers preparing for Friday’s ‘Artsblog Live’ Event. Expect a quirky take on everything from promotion to some rather physical preparation, all with the comic and unusual slant of our diverse set of Artsbloggers. Newsflash 5 will be streamed live from the ‘Artsblog Live’ event on 29 May, enabling an intimate insider-view of Friday night’s action, as it unfolds.

25 May 2009
Release of Newsflash 1

26 May 2009
Release of Newsflash 2

27 May 2009
Release of Newsflash 3

28 May 2009
Release of Newsflash 4

29 May 2009
Release of Newsflash 5
8pm – streamed live directly from the Artsblog Live Interactive Event


Download a podcast walking tour to guide you on your journey to the Artsblog Live event on Friday 29, or just to listen to and follow at your leisure. Choose from three Podcasts recorded by our artsbloggers: a burlesque Jack the Ripper Tour, A soundscape DJ set and a local voices reminiscence tour.

27 May 2009
Release of Podcasts


26 May 2009
Artsblog Live Week Discussion – Art and the Internet
Venue: Toynbee Studios

Join us at Toynbee Studios or online for an evening of discussion focusing on the ways in which artists and audiences interact with, talk about and create work using the internet. Speakers include Tassos Stevens (Coney), Isobel O’Carrol (editor, Catwalk Queen), Linda Duffy (artist), Holly Revell (photographer and teacher), Ben Beaumont-Thomas (music blogger and journalist, Bad Idea Magazine and New Statesman) and more.

28 May 2009
A Peachy Coochy Nite featuring Artsbloggers Joanne Matthews and Giles Bunch
Venue: Toynbee Studios
£5, book online or call 020 7650 2350

29 May 2009
Artsblog Live – Interactive Event
Venue: Toynbee Studios

Witness the virtual and real worlds collide at the Artsblog Live interactve event. Come along and try out some surprisingly lo-fi versions of social networking tools, join us in creating an online collaborative piece of work, or even grab five minutes of fame by featuring in the recording of the final Newsflash.

Monday, 18 May 2009

REAL PHONEY - Sinta Tantra

“She’s a phoney, but she’s a real phoney… Because she honestly believes all the phoney junk that she believes in...” (Breakfast at Tiffany’s)

Monika Bobinska is delighted to present the first major solo exhibition by Sinta Tantra in the UK. Best known for her site-specific murals and installations in the public realm, Tantra will turn the white cube of the gallery inside out by focussing on the external walls of the gallery building and on the floor.

Real Phoney explores the delight in artifice and the surface image, the porous boundary between pictorial and physical spaces, and ideas of spectacle, submergence and superabundance. The show represents several departures for the artist, primarily her move away from representational signs and signifiers to an emphasis on pattern and layering. Tantra’s palette of ready-made industrial paints and plastics are also updated, with a variety of metallic, reflective and transparent materials included that enable the artist to investigate depth in new ways.

Sinta Tantra was born in New York and lives and works in London. She is a graduate of The Royal Academy Schools.

Her site-specific installations in public spaces include the Southbank Centre, Regents Park Bridge, Piccadilly Circus underground station, Canary Wharf, Camley Street Nature Reserve and Camden Town Hall.

She has won numerous awards for her work, including the prestigious Deutsche Bank Pyramid Award 2006 and Westminster City Council Civic Award 2007. She curates Camley Street Projects, a public art organisation that encourages emerging artists to respond to the redevelopment of London’s Kings Cross.

Monika Bobinska
242 Cambridge Heath Road
London E2 9DA
Tel: 0786 606 3663 | 020 8980 9393

Real Phoney 8 May - 21 June 2009
Gallery open late for first Thursdays - Thursday 7 May | with music and cocktails
Artist talk - Saturday 30 May 4pm | admission free

Gallery hours: Thursday-Saturday 1-6/Sunday 2-5 or by appointment
First Thursday of the month - gallery open until 9pm
Closed Bank Holiday Sundays except by appointment

I met Sinta when I was at the Saison Poerty Library in the Southbank and not only is she a great person, she is very very talented! I totally recommend a visit to this exhibition!

Friday, 15 May 2009

WORKSHOP for Writers of Color at Re/Positionierung 22. - 23. May 2009



This is a workshop for performance writers of Color who are committed to
exploring „race“ and gender in their work.
We as artists are often prescribed the task of presenting positive images of
ourselves, to oppose and shift the excess of negative images of people of Color
in the media, popular discourse and, of course, in film and on stage. How might we achieve this without stifling and stunting the creative process? What strategies can we use to best support one another in our endeavor to achieve truth as we develop our work? What stories are important to us and what tools do we need to develop in order to confront and negotiate those stories? How do we define artistic integrity as writers of Color working within racist structures?

This workshop, open only to individuals who identify as writers of Color, will allow space for us to explore these questions through writing exercises, movement,and discussion. Workshop participants will be encouraged to share their experiences in creating work in a German context with the aim of forging fruitful connections with other writers and claiming one’s artistic identity.

Please note that this workshop will be conducted in English, although participants should feel free to write and/or perform in the language(s) of their choice. It is also crucial that participants commit to attending both sessions in their entirety.

AMY EVANS (Playwright, New York)
GRADA KILOMBA (Writer, Berlin. )

22. Mai 2009, from 10:00h – 17:00h and 23. Mai 2009, from 10:00h – 14:00h

Venue to be announced shortly

Registration required: or


WORKSHOP für TheaterautorInnen of Color bei NGBK-Veranstltung Re/Positionierung 22. - 23. May 2009



Dieser Workshop richet sich an TheaterautorInnen of Color, die sich in ihrer Arbeit mit „Rasse“ und Geschlecht auseinandersetzen.

Als KünstlerInnen sind wir oft mit der Erwartung konfrontiert, positive Images von uns selbst zu präsentieren, um so der Flut von negativen Images von People of color in den Medien, dem öffentlichen Diskurs und selbstverständlich gerade im Film und auf der Bühne entgegenzutreten. Wie können wir dies erreichen, ohne den kreativen Prozess einzuschränken? Welche Strategien können wir einsetzen, um einander bei unserem Streben nach Wahrheit in unserer Arbeit zu unterstützen? Welche Geschichten sind uns wichtig und welche Werkzeuge sollten wir entwickeln, um diese Geschichten zu konfrontieren und auszuhandeln? Wie definieren wir künstlerische Integrität für AutorInnen of Color, die in rassistischen Strukturen arbeiten?

Dieser Workshop richtet sich ausschließlich an Personen, die sich als AutorInnen of Color positionieren, um ihnen einen Raum zu bieten, diese Fragen durch Schreibübungen, Bewegung und Diskussion zu erkunden. WorkshopteilnehmerInnen werden ermutigt, ihre durch Arbeit im deutschen Kontext gewonnenen Erfahrungen zu teilen, um so ermächtigende Kontakte mit anderen AutorInnen of Color zu knüpfen und die eigene künstlerische Identität zu behaupten.

Bitte beachtet, dass der Workshop in englischer Sprache durchgeführt wird. TeilnehmerInnen sind dennoch eingeladen, in der Sprache ihrer Wahl zu schreiben und/oder zu performen. Es ist wichtig, dass TeilnehmerInnen den Workshop in Gänze besuchen.

AMY EVANS (Theaterautorin, New York)

GRADA KILOMBA (Autorin, Berlin. )

22. Mai 2009, von 10:00 – 17:00 Uhr und 23. Mai 2009, von 10:00 – 14:00 Uhr

Der Ort wird den TeilnehmerInnen in Kürze bekannt gegeben

Monday, 4 May 2009

Woodcarving... A dying indigenous African art tradition

culled from Guardian Newspaper (Nigeria), Tuesday, April 21, 2009

By Anote Ajeluorou

It is instructive that painting dominated the Africa Art Exhibition entitled Voices from Within: African Art Expressions, which held in Enugu and came to a close last week Thursday. Out of the over 300 major artists across Nigeria that had their works on display, 85 per cent of them had works in painting. While it must be said that they were very impressive works of art, woodcarving took a small portion of the stands competing with ceramics and metal works to make up the remaining 15 per cent.
But this was not surprising as it has been the trend for a very long time now. Contemporary African art has, unwittingly, become synonymous with painting in recent times. Clearly, Africa's indigenous art form, which was essentially in wood, ivory and bronze carvings have given way to painting. Even the Benin woodcarvers have shrunken to mere roadside carvers mass-producing cheap commercial crafts devoid of any artistic depth and the finesse they were originally noted for.
Ironically, the number of woodcarving on display at the just-concluded Enugu show, though small, somehow managed to steal the show. If the African Art Exhibition recorded what might be called exceptional success, it was in the area of the woodcarvings, which only a few artists showcased. Co-curator and director of organisation, Ayo Adewunmi admitted this much to The Guardian, when he said that being able to bring out Cyril Nwokoli to show his larger-than-life woodworks gave the show its biggest publicity. Nwokoli jealously guards his works and is not easily convinced to show them to the public. He complained to being stampeded to show his finished works, a stampede that paid off with the interest his works elicited.
Across museums dotting the length and breadth of Nigeria, there's a rich collection of artifacts mostly in wood, a testimony to the creative ingenuity of the nation's
cultural forebears, who express the communal spirit in woodcarvings. Deities, masquerades, and every socio-economic and political lives of the people were intricately captured in wood forms. Carving in wood approximated to how the ancestors viewed the world and expressed it. There was a carving to express every phenomenon that was at the heart of the community, whether for good or evil. This way they were able to bridge the physical world they lived in and the 'other', slippery world of spirits, which they could only grasp for communal understanding through carvings in wood.

Carvers were therefore gifted artists who interpreted phenomena and brought the world of the spirits closer to the people for communication. In some societies, woodcarvers were priests, who mediated between the living and the spirits. Phenomena like twins (Ibeji in Yoruba), personal god (ofo in Igbo), shrines and gods were expressed in woodcarvings; they were the expressed tangible forms to realms outside their own.
Now, however, all that has changed in what Nwokoli described as a degeneration of the generation, a generation that has lost its vital life force and grip on reality. His 'Okonkwo', 'Ohafia War Dancers' and 'Cattle and Rearer' were compelling pieces of woodcarvings that caught the imagination of viewers at the show. Nwokoli spent seven years in the forest working on wood, and the outcome is a humbling one in artistic ingenuity.
He said laziness and lack of will are some of the reasons why artists no longer find wood as appealing medium of artistic expression. The year 1970, according to him, marked the beginning of degeneration in society generally, where young ones find it difficult to work in the farms to feed the nation. This applies to all facets of life, even leadership, he said, which has impacted negatively on the nation's development. "Most artists do not have the will, the faith and the spiritual muscles to work in wood," he stated. "Not many want to bend to till the soil; there are no real farmers any more from 1970 because it's the law of natural selection. Those from 40 years downwards, didn't study; they don't like to study. They believe in sorting out lecturers so how can they make good leaders, senators or whatever position they hold, whether in private or public?"
A female artist, who has traversed the sex barrier to work in wood to produce impressive pieces of art is Ndidi Dike. She echoed Nwokoli when she said the physical aspect of working in wood could be responsible for fewer artists involved in carving. "I think the lack of interest amongst men and women could be the physical aspect, sourcing of materials and it takes a much longer time to finish a wood work". Further, Dike said wood was not easy to duplicate in these days of commercialism to make quick cash for the artist working in wood. But this is not the case with paintings, which can be massively duplicated. Also, Dike identified the availability of market as another reason for the low interest in wood. On the other hand, the market for paintings appears very robust, she said.

For Adewunmi, lecturer and artist, the problem goes a lot deeper. Lack of trainers for younger artists to work in wood might just be the reason for the low interest in woodcarving amongst artists. He also argued that training in woodwork was not an easy task as wood may be difficult to source. For this reason most artists have taken to installation art as alternative to the trouble associated with wood, he stated. Like Nwokoli and Dike, Adewunmi also believes most artists do not want to work hard any more like their forebears who painstakingly carved intricate patterns that have continued to elicit awe thousands of years after. As a result, young artists seek the easy way out, and painting becomes the best medium to work on.
Religious bias is also a factor Adewunmi fingered to be responsible for the lack of interest amongst artists working in wood. Nevertheless, he said this was a direct fallout of colonialism and the conversion of the 'primitive natives'. He said it was the attempt of the colonisers to wean the natives from their primitive gods of their forefathers, which were usually represented by the woodcarvings in the various shrines. Even when the functionality of such art has moved on to serve social and aesthetic needs, certain people still view woodcarving in religious prisms. Islam, according to Adewunmi, still views three dimensional objects with some suspicion as connoting paganism, especially woodcarving and not compatible with the faith.
For Ikenegbu Okay, a sculptor specialist who used wood, metal and other recycled materials to install 'Nigeria Rebranded', wood has become scarce than it was when the ancestors worked in wood. He also argued that 'some ecosystem restrictions' regarding falling of tree and forest conservation efforts make it difficult for artists to appropriate wood for use. This situation, he said, didn't exist way back when the ancestors were carving. Now, he pointed out, metal was easier to get unlike then when it was rare and expensive, when 'it has to do with affluence'. He cited the case of Nwokoli, whom he described as 'artist of monumental works' that stayed seven years in the forest in order for him to have access to wood to work with.
In any case, whichever the reason for the low interest for the wood medium among artists, its 'warmth' as Dike describes its feel, stood tall in the few pieces on display in Enugu. Chikwe Eheli's Long Distance, Chris Ahuba's Nkem, Cliff Nwanna's Ugo, Eva Obodo's untitled piece, Iyke Okenyi's Hopes and impediments and Nwokoli's famous pieces show class. They stood as bridges between the works of the forebears that have become artifacts and what the future holds for wood sculpting. Although they might not have been as delicately, intricately and ingenuously accomplished as the forebears' artifacts, they nevertheless showed continuity in consciousness that is necessary in all human endeavours, particularly a cultural continuity that establishes a link in tradition. It is hoped that collectors and curators alike will shed their lukewarm attitude and see wood sculpting as the link in artistic expression between generations and the need to push it to the next one.