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sabato 17 dicembre 2011

ADOLPHUS OPARA

Born 1981 in Nigeria, is a freelance documentary photographer based in Lagos.
He studied computer science at Ambrose Alli University and worked for Nimbus Art Centre, Lagos before embarking on his photography career.
Adolphus has covered assignments for both local and international media, with his photographs published in media such as PRIVATE, Bloomberg Times, LAGOS City at Work (A book published by Glendora Books), TIMEOUT Nigeria, 234NEXT Weekly, The Independent, World Press Photo ENTER, Associated Press (AP), WINGS (Arik air’s in-flight Mag.), Klang Sehen, African United (A book published by the World Press Photo), Unifying Africa (a book on soccer published by Uche James Iroha) and many others, the New African Magazine, African Lace (a publication by Museum fur vulkerkunde, Vienna – Austria)
Workshops

Noor/Nikon Masterclass in Documentary Photography organized in collaboration with the Nigerian Institute of Journalism, March 2009.
“Road to TwentyTen and Beyond” A multi-disciplinary workshop organized by World Press Photo, Africa Media Online, Free Voice and Lokal Modiale, 2009 – 2010 (involving selected African Photojournalist with the photography workshop in Ghana, September 2009 and then Zambia, March 2010)

Lectures Given

Nigerian Institute of Journalism, March 2009
Nigerian Institute of Journalism, March 2010
The Silent Majority Project, February 2010 to date.

Exhibitions

World Press Photo/Nigerian Institute of Journalism Exhibition at NIJ, Ogba – Lagos, December 2007.
African Artists Foundation/Nigerian Breweries art exhibition in Lagos, March 2008, Abuja April 2008, and Amsterdam June 2008.

First Photo Africa contest exhibition organized by the CAF Andalusian Centre of Photography and AL TARAB in Spain, April 2008.
“TIMELESS BENIN” organized by Farafina in Lagos, December 2008.
“THIS IS LAGOS” art exhibition at the Coningsby Gallery in London, February 2009,
“A PERSPECTIVE ON CONTEMPORARY NIGERIAN PHOTOGRAPHY” An exhibition of contemporary Nigerian photography organized by the Ben Enwonwu Foundation 25th September 2009
“PAPA Exhibits” Participating Artists Press Agency photo exhibition at the African Artists Foundation, Ikoyi Lagos, 25th September 2009.
“Lagos 1960 – 2010” an exhibition of old and new images of Lagos state, an exhibition organized by Lagos state government and put together by MYDRIM Gallery in commemoration of Nigeria @ 50.
“Lagosphoto” A photography exhibition organized by African Artists Foundation featuring 10 Nigerian Photographers, 10 Dutch photographers and 5 photographers from other African countries.
“African Lace”, an exhibition put together by Museum fur Vulkerkunde, Austria and the National Museum, Nigeria – October 2010 – April 2011 in Vienna and Nigeria.

Awards and Nominations

The Nigerian Conservation Foundation (NCF)/World Environment Day 2007;
Winner Life in my City Art competition 2009 organized by French Cultural Centre.
Winner, African Artists Foundation/Nigerian Breweries and Heineken Art Competition 2008 ➢ First Photo Africa contest, Spain 2008.
Nominee; Artist of the year, The Future awards 2008 and 2009.
Nominee; World Press Photo Joop Swart Masterclass in documentary Photography 2010.
Nominee; National Geographic All Roads Masterclass 2010.

Strong belief … Chief Aderemu Awogemi Akeke

Orisa Egbe Deity of Destiny (Mrs Osun Yita) from 'Emissaries of an Iconic Religion' (2009)

Untitled 17 (2006) - Sammy Baloji

All images © Adolphus Opara

My Photography…..
I developed a passion for photography as a result of my long term interaction with artists and art critics alike. I started photography in February 2005.
Have photographed around a few states in Nigeria and some West African Countries, including Ghana, Benin Republic, Bukinafaso, Mali and Senegal. I have also undertaken personal religious and economic projects.
As an artist and photographer, I am determined to change the face and acceptance of professional art journalism in the country which hasn’t enjoyed much admiration to date.
In December 2008 I completed an International professional course in photojournalist organized by World Press photo I collaboration with Nigerian Institute of Journalism in which i emerged top amongst the graduants.Fonte
http://www.adolphusopara.com/

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domenica 15 maggio 2011

QUANDO DIO ABITAVA A IFE.

Capolavori dall'antica Nigeria

Museo Civico di Paleontologia e Paletnologia “Decio de Lorentiis”. Coppia reale. Bronzo. Regni Benin. XVIII-XIX secolo

Museo Civico di Paleontologia e Paletnologia “Decio de Lorentiis”. Placca. Bronzo. Regni Benin. XVI-XVII secolo

Museo Civico di Paleontologia e Paletnologia “Decio de Lorentiis”. Bracciale. Bronzo. Regni Benin. XVI-XIX secolo.

Museo Civico di Paleontologia e Paletnologia “Decio de Lorentiis”. Cavigliere da schiavo. Bronzo. Artigianato Africa occidentale. XVII-XIX secolo

Yoruba pot

Escultura yoruba

esta mochila perteneció a un chamán, debido a la calidad de los materiales utilizados y al detalle empleado en los diseños geométricos

Nigerian - Iroke Ifa Beater, Yoruba Culture

Yoruba - Africa Occidentale - (Nigeria) maschera teatrale

Maschera cimiero per la danza

Mask (Gelede); Nigeria, Yoruba, Africa; Polychrome wood; Height: 72 cm Fotografia ©Paolo Manusardi, Milano

Nigerian - Yoruba Door Carving

Le opere d'arte rappresentano un "precipitato" dell'umanesimo di un popolo, e ciò che il resto del mondo ha fatto al continente africano è di averlo deprivato del sua umanità. In due modi: con il commercio degli schiavi e poi con l'imposizione coloniale.

WOLE SOYINKA, Nobel per la letteratura

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giovedì 25 novembre 2010

TOYIN ODUTOLA

1985 Born in Ile-Ife (Osun State), Nigeria
2012 California College of the Arts
MFA Candidate
2008 University of Alabama in Huntsville
BA in Studio Art and Communications
2007 Yale University
Norfolk Summer Residency for Music & Art

A Colonized Mind
Senior exit show (2008) in which I aimed to explore mythological representations of African women and motifs in African folklore from a Western Imperial perspective. Contentional spheres in the series run the gamut from the religious, sexual, political, and social institutions of duality in European, male perception. Three key concepts employed to explore these realms of filtered perception are ropes, horns, and rings. The ropes commentate on the rift between the past and present representations of African female sexuality, as well as the dynamic tension and in flux nature often accompanying changes in individual identity and sexual agency. The horns mock the ideas of religious and secular morality and intellectualism, catering to both debauchery and acknowledgement of the male gaze as a tool for empowerment, while wallowing in the acquiring of intellect par to male dominance, thus gaining the freedom to enact the same exploitative, objectified gaze back at the andro-centric preconception itself. Finally, the rings, used in the series to replace areas where vital limps would be presented, are meant to evoke a sense of helplessness and phantom limp syndrome as metaphor for lack of control and imposed innocence. Both the rings and rope motifs are similar in extrapolating on the idea of enclosure as in fact forced exposure. Along this same chord, domination (particularly of self and body by external forces) indicates lack of ownership concerning one's body and representation. There is meant to be a palpable tension throughout the series, even in the choice of material (drawing directly on the wood, as an act of engraving), with my ideas of African womanhood and mythology, I hoped to penetrate the viewer's perception and question WHO the subjects presented are instead of WHAT they are.