Art News Bbc – Nearly 350 students will turn the University of Dundee into Scotland’s largest art exhibition venue for the Duncan of Jordanstone graduate program this year.
Thousands of visitors are expected at the 10-day graduation ceremony, which opens to the public on Saturday after the traditional preview night.
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One of the students exhibiting is Amy Crawford, who is publishing her work six weeks after she nearly died of sepsis.
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Past alumni of the college include fashion designer Hayley Scanlon, illustrator Johanna Passport, and Star Wars animator Matt Cameron.
Professor Paul Harris, Dean of the College, said: “It’s hard to describe how thrilling and thrilling this has been for everyone involved.
“The buzz has been building for months as students who have put their heart and soul into their work for years are reaching the end of their undergraduate careers.”
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Although it was the culmination of years of work, Professor Harris said the show was “far from the end” of art and design students’ journeys.
He said: “They can become apprentice artists or they can work in film, games and animation studios.
“Maybe they’re working with some of the world’s biggest tech companies or leading the next big startups.
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“They may be doing something completely different, but whatever field they work in, we’re confident that what they’ve learned during their years here will serve them well.” An exhibition at the Guggenheim Museum in Bilbao, northern Spain, aims to show how a new generation of Africans are offering the world a new perspective on their continent. Making Africa brings together the work of 120 artists and designers.
The work of Senegalese photographer Omar Victor Diop focuses on the people who are part of his country’s burgeoning cultural scene. She works with her subjects, such as artist Mame-Tiara Niang, pictured here, revealing their personalities through props and poses.
Mozambican photographer Mario Macilao wants to capture the hip youth of his country’s capital, Maputo. The images not only show contemporary fashion, but also hark back to the pinnacle of African studio photography, according to the exhibition catalogue.
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The print celebrates the work of tailor Igre Jones by depicting Lagos, Nigeria’s commercial capital, more than six decades into the future. The sharply dressed figure in the foreground is described in the catalog as a tailor’s apprentice who wants to make clothes for the citizens of the new Africa.
The Kenyan artist Cyrus Kabiru makes objects from discarded materials. He has created a series of wearable glass sculptures to challenge the way we see things – a reference to how Africa can often be portrayed in a negative light.
Bodys Isek Kingelez started designing futuristic buildings that challenged the image of a western city. The model – the Congo Red Star – also represents his socialist values and the artist says he wants to create a new world with cities “full of peace, justice and freedom”, the exhibition catalog quotes him.
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Nigerian JD Okai Ojaikere’s photo highlights the creative ways women wear their hair. He wanted to establish a record of styles and increase their aesthetic appreciation.
Pierre-Christophe Gam designed the website for singer Taali M. He said he wanted to use the site to take visitors to the ancient African kingdom, with a French singer with Congolese, Chadian and Egyptian roots as a guide.
Kenya Wangechi Muthu’s short film The End of Eating Everything is a critique of our consumer society. In the film, a Medusa-like figure – played by singer Chandigold – appears to be eating a flock of birds. She eventually exploded giving birth to several female heads, the catalog says.
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Malik Sidibe’s photographs taken in Mali in the 1960s capture the spirit of freedom that few contemporary artists try to emulate. This 1963 movie shows a young couple relaxed about expressing themselves and how they feel.
Architect David Adjaye was asked to design a new pavilion for the transport hub at Park Station in Johannesburg, South Africa’s largest city, and why his new installation in London’s St Paul’s Cathedral is important as the world-famous building preserves its monuments reassessments for historical figures, including the admiral who led the campaign that plundered the Kingdom of Benin.
Spotlights highlight the rhinestones in Victor Ehigamner’s giant rosary tapestry, making it sparkle and illuminating part of the crypt in the 17th-century cathedral.
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This statue of the Oba or King of Benin dominates the space through which thousands of visitors pass every week and attracts attention.
Next to it – barely legible and tarnished by time – is a much smaller brass plaque commemorating Admiral Sir Harry Holdsworth Rawson, who in 1897 led a punitive expedition to the West African kingdom of Benin.
He oversaw British soldiers and sailors destroying an ancient civilization by looting and burning the palace of the Oba in the Nigerian state of Edo, now Benin City.
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Their looted treasures — thousands of metal sculptures and ivory carvings made between the 15th and 19th centuries and known collectively as the Benin Bronzes — are now at the center of a debate over the return of artifacts taken during the colonial era.
But as his plaque recalls, Rawson was revered for his exploits throughout the British Empire at the time.
Sculptures looted around the world by British troops from Benin Kingdom in 1897
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With monuments to hundreds of historical British figures, St Paul’s offers a version of the past. But cathedral officials are trying to bring new perspectives to the ongoing art project.
Ehikhamenor’s 3.7 meter high work Still Standing was specially commissioned as part of a project where 50 monuments tell different stories in 50 voices.
“There is something very powerful about seeing an Oba standing next to a group commemorating the Benin campaign,” said the cathedral’s chancellor, Dr Paula Gooder.
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The work is a reminder of the “lasting legacies and losses of colonial warfare,” said the exhibition’s co-curator Professor Dan Hicks.
Dr. Gooder explained that St. Paul’s has decided not to get rid of its monuments, recognizing that “people in the past had different values” and instead wanted to “enter into a dialogue with history.”
To the British people [Rason] is a hero, to the family he is a hero, but to others he may be a war criminal” Victor Ehigamenor Artist
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“To the British people [Rason] is a hero, to the family he is a hero, but to some others he may be a war criminal,” the artist said.
He feels that Rawson’s “painful” role in the whole affair has been forgotten in the entire reparations debate, the push to return looted artifacts to Nigeria.
Ehikhamenor comes from the same Edo cultural and artistic tradition as the bronzes, and his piece was inspired by Oba Ovonramwen, King of Benin who was exiled by the British in 1897.
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The installation shows a larger than life figure of the Oba, standing in full regalia and holding the instruments of his power.
“I am resurrecting Oba Owonramwen and every person who was violated during that oppressive attack on the Benin Kingdom,” said the artist.
Still standing refers to the fact that for Ehikamanor “the kingdom still stands, the culture still stands, we the people still stand.”
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Created late last year at Ehikamenor’s studio in Lagos, Nigeria, the work involved three months of continuous work by the artist and a team of four assistants.
They played young women, mainly Yoruba gospel music, as they worked on the piece, putting all the elements together and the image of the Oba gradually emerging in the monumental weave work.
“People can’t possibly look at it and feel joy, something they can’t understand,” said the artist.
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To make the work, 5,000 rosary beads, traditionally used for Catholic devotion, were sewn onto the lace, along with rhinestones and bronze figurines.
The most important of the miniatures hanging in the work is a replica of the 16th-century mask of Queen Idia, one of Benin’s most famous bronzes.
The mask is plastered with chalk, another strong feature of the whole work, which harks back to the artist’s childhood memory of his grandfather calling out with ritual chalk while watching the new moon.
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He began using the rosary in his studio practice in 2017, raising questions about what is a religious object, what is art, what is sacred, and what is stigmatized as demonic.
“Our art has been demonized for so long. Now, my point is, when you see the work done on the rosary, are you going to call it demonic?”
Ehigamener was one of the leading voices in the call for the return of looted art, but
