Keeping it Real
A Conversation with Olu Oguibe
Keep it real memorial to a youth, 1997-2000, installation
Game, 2003, installation
Ukara cloth, Igbo peoples, Nigeria, 1983, cotton, indigo dye, 256.5 x 198.1cm
above:
Mbuti barkcloth paintings, Ituri Forest/Zaire, Democratic Republic of The Congo, approx. 75 cm
below:
Paul Klee, Rider Unhorsed and Bewitched,
“So, who knows: perhaps abstraction in the West was invented in 1911, although Paul Klee copied Mbuti abstract drawings well before then. That’s of less interest to me given that drawing, painting, and design in my own culture were always abstract until well after 1911. That’s what I draw from.”
above:
Adinkra calabash stamps, of the Akan people, Ghana
right:
Asafo flags, of the Fante people, Ghana, 18th century onwards
Bridge, 2002, impromptu installation and performance, Loiza, Puerto Rico
Library Project for Jamaica Flux, 2004, inkjet print, 127 x 66 cm
Buggy, 1997, installation
Women of Substance, 2000, paintings
Olu Oguibe Remembers Chibok, 2017, performance
Olu Oguibe at documenta 14
“Das Fremdlinge und Flüchtlinge Monument” (“Monument for strangers and refugees”), 2017, concrete
Biafra Time Capsule, 2017, documents, archival objects, and mixed media, installation view
Digital Companion
An Ongoing- Offcoming Tale by Bonventure Soh Bejeng Ndikung
Anecdotes of That Which Is So Visible It Cannot Be Seen →