The 'In Brilliant Light' exhibition, currently at the Wereldmuseum in Leiden, Holland, runs till November 26 and marks another achievement by Nigerian curator, Azu Nwagbogu.
Known for founding the African Artists’ Foundation and spearheading the Lagos Photo Festival, Nwagbogu is celebrated for his innovative approach to African art and its global narrative. This time, he steps onto the international stage once again, challenging colonial legacies and offering fresh interpretations of African art through modern and contemporary lenses.
In collaboration with the Wereldmuseum team, including the museum’s Director of Content Wayne Modest and curators Annette Schmidt and Vanessa de Gruijter, Nwagbogu curated 'In Brilliant Light’ as a way to bridge the gap between Art from the African continent from the past and present. ‘In Brilliant Light’ highlights the modern era as a pivotal connection between traditional African works and contemporary creations, spotlighting 32 artists who explore themes of migration, power, spirituality, and post-colonial identity.
Reframing Colonial Narratives Through Modern Art
Nwagbogu's curatorial intent centers on bridging Africa’s traditional art forms and contemporary diasporic expressions by positioning the "modern" as the pivot point. As he explains, “There is an oscillating obsession between traditional African art and trending contemporary art, with very little interest paid to the foundations of that urgency we hold for contemporary art, i.e., the modern.” This bridge enables a dialogue that reframes African art histories, allowing modern works to mediate and reconcile Africa’s past with its evolving present.
The exhibition introduces contemporary artists’ work as "external impulses" that animate the museum’s vast collection, a process that not only highlights historical timelines but also infuses the traditional with renewed relevance. Artists like Ibrahim Mahama, Sammy Baloji, and CATPC (Cercle d'Art des Travailleurs de Plantation Congolaise) create pieces that confront the lingering effects of colonial exploitation, drawing connections to the labor histories of Africa. Their works serve as meditative commentaries on colonialism while recognizing modern complicity in today’s evolving global structures of power.
Critiquing Eurocentrism: Making the Familiar Unfamiliar
The impact of contemporary African artists such as Yinka Shonibare and Sanford Biggers lies in their ability to recontextualize Eurocentric frameworks. Their work offers critical perspectives on the dominance of Western narratives in art history. Nwagbogu emphasizes how these artists, by "making the familiar unfamiliar," encourage viewers to question and revisit their preconceived notions of Western art.
Shonibare's iconic depictions of hybridized figures in Victorian dress speak directly to the entangled histories of colonization and identity, while Biggers challenges perceptions of African-American history in relation to Africa.
This approach opens up possibilities for global audiences to engage with African art on its own terms—no longer viewing it through the restrictive lens of Eurocentric dominance but instead appreciating its diverse and multifaceted contexts.
Spirituality and Knowledge in Contemporary African Art
One of the central themes explored in ‘In Brilliant Light’ is spirituality as a form of knowledge sharing. For artists like WonderBuhle, spirituality functions as both a connection to Africa’s indigenous knowledge systems and a creative force that informs contemporary artistic expression.
Nwagbogu articulates that "numinous spaces" serve as safe environments for dialogue and knowledge incubation. By presenting spirituality as an evolving and dynamic force, the exhibition underscores its importance in the broader landscape of contemporary African art.
Diaspora and Global Connections
Another significant aspect of ‘In Brilliant Light’ is the representation of African diasporic experiences and their intersections with global histories. Pioneers like James Barnor and Bodys Isek Kingelez provide compelling visions of post-independence Africa, seen through the lens of migration and globalization. Barnor’s photography captures the optimism of post-colonial Ghana, while Kingelez imagines utopian cities that reflect his vision of a hopeful, prosperous Africa.
Through the lens of diaspora artists, the exhibition delves into how African identities are continually negotiated across borders and within post-colonial spaces. The artworks challenge notions of cultural identity, displacement, and belonging, resonating with both African and global audiences.
‘In Brilliant Light’ is more than an exhibition; it is a profound reflection of Africa’s past, present, and future. It critiques, informs, and inspires, asking viewers to reconsider how African art is viewed and valued in global contexts. Through Nwagbogu's curation, the show becomes a testament to the power of art to reshape narratives and create new connections between Africa and the world.
As Nwagbogu continues to push boundaries in curating African art on the international stage, ‘In Brilliant Light’ shows how African histories can be reclaimed and reimagined through art.
Comments