Abstract
There are enormous challenges facing artists which have contributed to slowing the tempo of art practice in Nigeria. Part of these challenges is to get a descent and affordable exhibition space to showcase their works to the public. On the other hand, art institutions are graduating volumes of artists into the practicing square, yet art promotional structures that will support as well as ensure a smooth and enduring practice of visual art are grossly inadequate. While foreign cultural centres are doing a lot to promote artists especially by way of providing space for exhibition, this in turn pose another challenges on the part of the artists. Does the artist create works to suite his/her creative instinct or follow the standard of those who provide him/her with space for exhibition? This paper therefore, analyzed and discussed exhibition of visual art in foreign cultural centres in Nigeria with special emphasis on Goethe-Institut, Lagos. Also, the writer further discussed challenge face by artist in having their works showcase in such centres. Conclusion is drawn on a reflective mode for modern Nigeria artists ponder on effect of such a development to the socio-cultural growth of the Nigerian society.
Introduction
Art practice all over the world, faces quite a number of challenges which comes in different ways. Since the beginning of modern Nigerian art, over fifty years ago, many artists at different stages in their practice, had to struggle with economic, political and social problems to become out-standing in the field of art. While the number of artists are increasing yearly, the physical structures that will not only support the artists but also ensure a smooth practice of art as well as its sub-sector has been grossly inadequate. For example, inadequate space for art exhibition has remained one of the crucial problems (needs) of contemporary Nigerian artists, from time immemorial. Zaria, for instance, apart from the fact that the city occupies a strategic position in the history of modern Nigerian art and has continued in the training of artists for over fifty years, it also has a considerable number of artists of iconic qualities practicing in the city; yet it can not boast of a standard exhibition hall (out side of the library gallery) that can contain the works of fifty exhibiting artists, talk more of having a university gallery.
The coming on board of foreign cultural centres to offer complementary cultural services to the Nigeria cultural scene (like providing exhibition spaces to visual artists) can be seen as a big relieve in that respect. However, this development has its own challenge, particularly on the part of the artists. Although, there are different foreign cultural centres in Nigeria, with different sub-centres located especially, in major cities in Nigeria (Lagos, Abuja, Kaduna, Kano etc), their activities as observed, are almost the same. Among such foreign cultural centres in Nigeria include British Council, Italian Cultural Centre, and Goethe-Institut, to mention just three. For the purpose of this paper, the writers will focused on the German cultural centre’s (Goethe-Institut’s) activities, especially its exhibitions.
This paper therefore, discuss as well as analyze art exhibitions in Goethe-Institut, with the view to understanding, the concept/nature of exhibition in foreign cultural centres, and the seeming challenge of modern artists in exhibiting in such arena. This has been achieved by defining the concept of exhibition as well as foreign cultural centres, analyzing the types/context of exhibitions in foreign cultural agencies. It is after these, that the challenge of artists in holding exhibitions in the centres are discussed.
Meaning of Exhibition
The term ‘Exhibition’ simply means the public display of industrial or commercial products or of fine arts. Although the term is sometimes used interchangeably with ‘exposition’, in strict usage, an exhibition is a display of such products (industrial and commercial) or arts, for a short period; while an exposition is for a longer period and usually on a larger scale. Both exhibitions and expositions may be regional, national, or international, and may show only the products of a single industry, such as furniture or leather, or all products of human endeavor.
In visual art practice, exhibitions are grouped into two: Solo exhibition and group exhibition. A solo exhibition is a one-man show in which an artist showcases a number of works to the public; while the group exhibition, entails an art show that involves the works of two or more artists in a given arena, for public consumption. This usually attract a lot of art promotional benefits on the part of the exhibiting artist(s). Apart from the art promotional notion which is often tied to it, exhibitions are one of the prime sources in which the artist meets the public and offer cogent explanations on the concepts, themes, styles, and philosophies of his/her art works in order to create a better understanding. In view of this, no artist can have a successful practice, without organizing or holding an exhibition (group or solo) of his works. This among other reasons, explains why exhibition is important to an artist, as well as being central to the practice of visual art globally.
Foreign Cultural Centres in Nigeria
In order to have a better knowledge of the meaning/concept of foreign cultural centre, there is need to understand what a cultural centre means. By definition, a cultural centre can be described as any organization or body, that promotes culture and arts. Such (Cultural) centres can be operating as a community arts organization, manage as a private facility by non-governmental body, government-sponsored cultural institutions like museums, or similar institutions, run by activists, for cultural purposes. A ‘foreign cultural centre’ therefore, can be referred to as any foreign body or those institutions which have foreign origin/background or operating as agencies of foreign countries in Nigeria, and charged with the responsibility of promoting the cultures of their respective countries. Example of such bodies include British Council of United Kingdom; Alliance Francaise of France; Goethe Institut of Germany; and the Korean cultural centre. All these bodies operate on a given frame work as provided by the government of their respective countries. They serve as bodies which implement or execute the cultural policies of their nations in other countries.
These foreign cultural centres normally carry out multiple programmes, some of which tend to involve visual artists and consequently, offer various opportunities for them (artists), not only to exhibit their works in the centres but also to be promoted beyond the confines of their immediate practicing environment. The Goethe-Institut (German cultural centre), for instance, organizes cultural activities on a yearly basis that cut across, film, visual art, performing art, language studies, and other educational functions of cultural connotations. While some of these programmes are stationed in one place, lasting for days, others are taken to different locations within Nigeria and with a touching effect on Nigerians, especially as it relates to culture.
Analysis of Visual Arts Exhibitions in Goethe-Institut
Although there are quite a number of visual art events/programmes which are consistently run by Goethe Institut in Nigeria on a yearly bases, this paper as earlier stated, will only focus on art exhibitions. It has been observed that exhibition is one of the many aspects of visual arts, which Goethe-Institut has been seriously involved in. The past (archival) records of the institute show that not less than six exhibitions are being held in the Goethe Institut, Lagos every year. While some of these exhibitions are organized by Goethe Institut at specific times/events for artists to participate, other exhibitions are organized by artists themselves, using Goethe Institut as the venue to showcase their works. A recent study carried out by the writer in the centre revealed two kinds of visual art exhibitions that frequently take place in the German cultural centre, Lagos.
The first kind, is photography exhibition, while the second is exhibition of fine art products (painting, printmaking, sculpture, drawing and so on). The former involves a collection of photographic shots (pictures) on specific themes or titles, about situation of things in the society. Such themes may be on poverty, war, development, accidents, and other socio-political and cultural issues. The idea of such photographic exhibition is to bring people (audience) closer to the realities surrounding human life, by simply putting together a collection of snap shots that can speak to the mind and evoke reactions that might lead to a positive change in the society. Hence, the theme and title usually goes with the current needs of people in the society at a particular period. For example, a photo exhibition of a river titled, Komadugu Yobe (1995), sponsored by Goethe Institut, in collaboration with the Nigerian Conservation Foundation, was meant to address the damaging effects of industrial wastes on Nigerian rivers. The project was directed by Prof. Wihelm Seidesticker, (a German professor) who was an expatriate staff at the University of Maiduguri. Another one is Living Culture (2007), a photographic workshop/exhibition by Goethe Institut, Lagos, in collaboration with Kano State History and Culture Bureau. This exhibition explores as well as exposes various aspects of Kano peoples culture through photographic means. The workshop was in Kano, while the exhibitions were held at two separate venues/dates, Kano (May, 2007) and Lagos (October, 2007).
On the aspect of fine arts exhibitions (painting, sculpture, drawings, etcetera), the writer identifies three categories which normally take place at the Goethe Institut, Lagos. The categorization is, however, based on the category of artists participating in the exhibition, the source of the exhibition (whether foreign or Indigenous), as well as its thematic and curatorial considerations. The first category are exhibitions whose themes/titles are drawn from topical issues, either from Germany or across the globe. When such exhibitions are organized, visual artists who are in partnership with the Goethe-Institut and usually have an enduring practising relationship with them are invited or notified. The basic methods under which information is sent across to the invitees (artists) is through media publications/announcements (radio, television and newspapers), internet (websites, emails), and sometimes through posters. Such exhibitions are theme guided, so artists are allowed to work diversely but within the limits of the given theme. The nature/style of the works produced by the exhibiting artists are governed by the same thematic concerns under which artistic statements are visually expressed. The exhibitions that fall into this category are usually conceived from the head quarters of Goethe Institut in Germany, hence they may involve the participation of both foreign and local artists. The curatorial team may be a combination of both foreign and local curators, who are specifically commissioned for the purpose of selecting works that meet a required standard. The venue also may be in two countries (Nigeria and Germany as the case may be) or either of the countries. Artists who are invited, and their entries meet the required standard, are usually sponsored. The sponsorship may cover feeding, accommodation, transportation (of the artists and works), printing of catalogue and so on.
The second category of exhibitions in Goethe Institut are, art works created/produced during art workshops organized by Goethe Institut. Such workshops are organized with a theme for participants to work on. The artists invited for the art workshops vary, from one professional level to another (lecturers, professional artists, student artists and those within the apprenticeship). The formulation of the title as well as the directorship are mostly from abroad (Germany). Materials for the workshops are supplied by the Institut, and the participating artists are exposed to various art materials/media as well as conducive working environment that encourages them to produce as many works as possible. The body of works produced during such workshops are reflections of different styles, trends, concepts, and using different motifs of varying cultural background, but mostly within the limits of a given theme/ title. At the end of such workshops, all the artists (who are participants of the workshops) have the opportunity to exhibit their works (the products of the workshop). Such exhibitions may be slated to hold in different venues at different dates. Sometimes artists would be selected to exhibit outstanding works beyond the shores of the host country. For example, the art works created during “Drypoint” (an intaglio printmaking workshop at Nsukka, 1990) were exhibited at Nsukka, Lagos and Germany; while the exhibits from the workshops conducted by Willibrod Haas at Nsukka and Auchi in 1992 were exhibited in Lagos at Goethe Institut. Also, the art works produced in the workshop, In God We Trust (2008), which involved local and foreign artists, was exhibited in two venues: At Mushin Lagos and Victoria Island on two separate dates (See plate 1). In this regard, foreign artists work and participate in the same workshops/exhibitions with the local artists.
The third category of exhibitions usually held in Goethe Institut is based on request from indigenous practising artists. In this category, practising artists in Nigeria do write to the Institut requesting for sponsorship of their exhibition or assistance in a variety of ways, that would help them exhibit their works using Goethe as venue. Such requests are made by clearly specifying the theme, title, types of works to be exhibited, and the manner (or nature) of the exhibition. Also, the artists may be asked to explain their relationship with the Institut hence, artists who partner with Goethe as well as have practising relationship, tend to have advantage over those artists who are not their partners. Examples of such exhibitions are Mystic Sound (1993) by Doris Weller and Meki Nwezi; Birth of a New Spirit (1992) by Odemba Emeka Stalin, and Fragment and Songs (1995) by Chika Okeke and Marcia Kure; Man and Earth (2009) by Jerry Buhari; (See plate 1I) Reclaiming Africa (2009) by Gerald Chukwuma. Above all, such exhibitions are statements which the artists have artistically captured to express their views about certain issues of urgent attention in the society.
The Challenge for Artists Exhibiting in Foreign Cultural Centres
The major challenge that contemporary Nigerian artists usually face in exhibiting their works in foreign cultural centres is that, they (foreign cultural centres) are being established to operate on a given agenda that will benefit those countries that own these cultural centres. It therefore, means that, if an artist must exhibit in those centres, the artist’s work must be within the ideas that such an agenda is located. This to some extent, tends to limit the creative freedom of the artist. Also, most foreign cultural centres do not freely come out with a clear cut criteria, which will help in defining their agenda in that country; rather, they design programmes which are knitted with series of activities within which such agenda will be accomplished. For example, Goethe-Institut, Lagos does not have a standard criteria for selecting or choosing works or even artists that should participate in or hold exhibition in their centre. However, the Institut must shares or believes in the theme of such exhibition before approving it. It means, therefore, that any artist who apply for Goethe’s sponsorship, on any exhibition, must be able to articulate his/her creative ideas, convincing enough and with relevant works, as a basis for institute to support his/her exhibition request.
In this way, the thematic rendering of works is such that, every art must have a link to the issue at stake and at a particular time. This supposedly indicates that, Goethe’s standard has little or nothing to do with style, trend or materials used in the making of the art works.
However, an interview with the Director of Goethe Institut (2009) reveals that, art works to be exhibited in the centre are commonly selected based on how ‘special’ or ‘new’ they are. These two words (special and new) are relative, for what one considers as special may not be special to another person. Also, what is new in a particular region, may not be regarded as new in another place. Therefore, who determines a work of art to be special or new, and on what criteria? Where does the ‘special’ or ‘new’ art originates from (Nigeria or Europe) and which society does it benefit: the much more developed German society or Nigeria, which by comparism, is less developed and is facing economic, political and social challenges?
The issue of ‘special’ or ‘new’ could be seen in two ways. The first is that, any art work created by an artists is special to the artist, one way or the other; because it is an embodiment of the artist’s experiences/ideas on specific societal issues, which are artistically captured as a statement for a target audience. Such art works are best understood by the people in that society, because they are familiar with various motifs, symbols and materials that make up the art works, which are also symbolic of certain events surrounding the life and history of such people. Hence, if Goethe Institut, decides that such a work is not worth promoting because it is not ‘special’ or ‘new’ by what ever criteria (without considering the content) against the artist’s creative intent, then, it is not a good development for Nigeria’s cultural sector. Another perspective of viewing the issue of special or new is on the aspect of originality. If , for instance, Goethe Institut, is using the terms‘ special’ and ‘new’ as a means of emphasizing the originality of works generally produced by contemporary Nigerian artists, then, it will be better for the Nigerian art sector, as this will contribute to solving the issue of art replication or art plagiarism by some artists. In either side of the coin that one chooses, the fact remains that, this issue will continue to be a major test in artists’ quest for creative endeavours, or at worst, it will deny artists the freedom in creating works with the best ideas that will foster political, economic and social change needed for the development of their society.
Conclusion
From the above, the paper attempts to analyze as well as discussed the different categories of exhibition which are usually held in Goethe-Institut, Lagos (a german cultural centre). The writers also discuss the major challenge of modern artists especially as it relates to their creative approaches in the production of works meant for exhibition in such centres. Base on these, it can be safely observed that, modern Nigerian artists are at a cross-road on whether to follow their creative instinct, by creating works that will genuinely portray as well as positively touch the cultural life of their society, or bend their creative endaevours to suite the demands of those who provide free sponsorship for their art and practice. While this issue keeps the artists astride in their practice of visual art, one needs to take a deep reflection and ponder seriously on the consequences of this development, especially as it affects the cultural growth, or otherwise, of the Nigerian society.
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