A version of the review appeared in print on July 5, 2013, on page C23 of the New York edition with the headline: ‘Go-Slow’: ‘Diaries of Personal and Collective Stagnation in Lagos’.
Read the review below (culled from the New York Times website)
‘Go-Slow’: ‘Diaries of Personal and Collective Stagnation in Lagos’
'Merged' Charles Okereke |
Skoto Gallery
By HOLLAND COTTER
Published: July 4, 2013
529 West 20th Street, fifth floor, Chelsea
Through July 31
No one views Africa more critically than Africans. And the young curator
Amber Croyle acknowledges this fact in taking Fela Kuti’s satirical
1978 song “Go-Slow,” with its propulsive but not-going-anywhere rhythm,
as the title for this show of 10 contemporary Nigerian photographers
who capture life in their country, where high energy and tension meet.
In Lagos, the largest city, traffic halts movement for hours, as
suggested by Uche Okpa-Iroha’s pictures of public buses seemingly piled
up, back to back. Sidewalks are crowded too, with everyday people like
those in Ade Adekola’s solarized street portraits, and walls thick with
the kind of advertisements against which Abraham Oghobase photographs
himself. In a series called “No Hurry,” Chriss Nwobu, founder of the
Nigerian photo agency Ikollo, distills urban drive and stasis in studio
still lifes: a briefcase perched on a detached car tire, dozens of
slippers and shoes lined up heel to toe.
Other work touches on destructive forms of stagnation: drought resulting
from global warming in Adeniyi Odeleye’s 2010 “Shifting Realities
Series” and the continuing devastation of Nigeria’s oil fields in
Aderemi Adegbite’s 2013 “Medicine After Death Suite.” Staged tableaus by
Uche James Iroha — a founding member of the Depth of Field collective —
dramatize the lingering suppressions of colonialism. Adeola Olagunju
photographs herself among rusting trains and abandoned factories, relics
of a revolution that hasn’t happened.
But sometimes slow means contemplative, as it does in Akintunde
Akinleye’s shots of a clouded-over city, and Charles Okereke’s figures
under a sunset sky. As it happens, the Lagos-based Mr. Okereke, along
with Mr. Okpa-Iroha and Mr. Nwobu, is a member of the forward-looking
collective Invisible Borders: Trans-African Photography Project, which
travels by car across Africa, gradually creating a grand continental
portrait as the present turns into the future. Its ambitious
undertaking, and many others like it, are another side of the Lagos
picture.
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