Laura Burocco, IKO-Art Gallery & I AM GBAGYI

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set.

2019
HD video, 16: 9, color, sound, 15min

Contact direct with the artist for Denilson Baniwa :denilsonbaniwa@gmail.com

Portraits of the artist’s family members

Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Portraits of the artist’s family members

Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Portraits of the artist’s family members

Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Portraits of the artist’s family members

Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Portraits of the artist’s family members

Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Museu da Silva (The Silva Museum) 
Photos from the family collection (Conceição, Tarciano and Socorro), and video installation documenting the return of the artist to her family community. 

The photos from the collection are on display as descriptive of the project but are not for sale

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Museu da Silva ( the Silva Museum ) 
Descriptive: Photos from the family collection (Conceição, Tarciano and Socorro), and video installation documenting the return of the artist to her family community. 

The photos from the collection are on display as descriptive of the project but are not for sale.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Museu da Silva ( the Silva Museum ) 
Descriptive: Photos from the family collection (Conceição, Tarciano and Socorro), and video installation documenting the return of the artist to her family community. 

The photos from the collection are on display as descriptive of the project but are not for sale.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Museu da Silva ( the Silva Museum ) 
Descriptive: Photos from the family collection (Conceição, Tarciano and Socorro), and video installation documenting the return of the artist to her family community. 

The photos from the collection are on display as descriptive of the project but are not for sale


Roadside communities are routinely neglected. Many of these communities originate from native peoples who have not had their territories demarcated. Cucurunã is one of these communities and is located between Santarém and Alter do Chão in western Pará,a region called "Eixo Forte", in the lower Amazon. The Museu da Silva arises from the ideal of building a narrative based on the memories of the artist's own relatives who tell a centenary history of building a Tapajowara community, which brings within it an important indigenous identity that has been erased or subdued by the colonization processes throughout Brazilian history.

Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Collage on photo of the artist's grandmother
2020
Size: 42 x 59,4 cm.
Printing on papelrag canson infinity 300 line
Price: $200
Number of copies: 10
Photo made by @tysilva_
Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Digital collage on a photo of a Munduruku family, from the collection of the Museu do Índio,1928.
Rag Photographique Canson Infinity Line
2020
42 x 59,4 cm.
Price: $300
Number of copies: 10
Contact direct with the artist Moara Brasil: contato@moarabrasil.com

Fabriani paper, dotted A5 sheets
2016
148 x 210mm 5.8 x 8.3 inch

[...] “Ga-mi-Ori is origami or development of my head. In Yoruba, Odaraya Mello combines references from different cultural backgrounds. Using the official language of countries like Nigeria, Togo, and Benin, spoken in Brazil by more than 30 million people, especially in religious cults with African origins, a translation practice that is, at the same time, critical and creative. [...]

Fabriani paper, dotted A5 sheets
2016
148 x 210mm 5.8 x 8.3 inch

[...] “Ga-mi-Ori is origami or development of my head. In Yoruba, Odaraya Mello combines references from different cultural backgrounds. Using the official language of countries like Nigeria, Togo, and Benin, spoken in Brazil by more than 30 million people, especially in religious cults with African origins, a translation practice that is, at the same time, critical and creative. [...]

Fabriani paper, dotted A5 sheets
2016
148 x 210mm 5.8 x 8.3 inch

[...] “Ga-mi-Ori is origami or development of my head. In Yoruba, Odaraya Mello combines references from different cultural backgrounds. Using the official language of countries like Nigeria, Togo, and Benin, spoken in Brazil by more than 30 million people, especially in religious cults with African origins, a translation practice that is, at the same time, critical and creative. [...]

2015
1366 x 768px
Direct contact with the artist - odarayamello@gmail.com

Metallic C-print 
56x156 cm
Edition of 5 + 1 AP 2011
Artist represented by Porta Vila Seca Gallery - Rio de Janeiro 
http://www.portasvilaseca.com.br/br/artistas/pedro-victor-brandao/

Public performance and installation, 2019 
Left: Vertical photo: 1m50 wide / 3m high
Right: 3 horizontal photos: 420 × 594cm 

The Horse is the Rising (Monument to Osala and to workers) is a public art installation inspired by the artist’s poem 'I ride in marble fields’, from 2018. Taking the horse as a multicultural code within Brazilian and African-brazilian culture, the artist seeks to draw parallels between (1) the horses present in colonial and post-colonial monuments and their signifiers, (2) the flags that these monuments bring and their ideological conceptions, and (3) the horse as a representation of the human being that embodies (receives and allows oneself be ridden by) entities and deities within religions of African and Afro-Brazilian origin. The entities discussed here are Osala and the worker himself / herself, who, in this project, is recognized as an entity (spiritual agent) of the social space. The work consists of the Diaspora performance, the construction of the monument and the distribution of hominy at the end of the process.

Contact direct with the artist Yhuri Cruz: yhuricruzart@gmail.com

Public performance and installation, 2019 
Left: Vertical photo: 1m50 wide / 3m high
Right: 3 horizontal photos: 420 × 594cm

The Horse is the Rising (Monument to Osala and to workers) is a public art installation inspired by the artist’s poem 'I ride in marble fields’, from 2018. Taking the horse as a multicultural code within Brazilian and African-brazilian culture, the artist seeks to draw parallels between (1) the horses present in colonial and post-colonial monuments and their signifiers, (2) the flags that these monuments bring and their ideological conceptions, and (3) the horse as a representation of the human being that embodies (receives and allows oneself be ridden by) entities and deities within religions of African and Afro-Brazilian origin. The entities discussed here are Osala and the worker himself / herself, who, in this project, is recognized as an entity (spiritual agent) of the social space. The work consists of the Diaspora performance, the construction of the monument and the distribution of hominy at the end of the process

Contact direct with the artist Yhuri Cruz: yhuricruzart@gmail.com

Public performance and installation, 2019 
Left: Vertical photo: 1m50 wide / 3m high
Right: 3 horizontal photos: 420 × 594cm

The Horse is the Rising (Monument to Osala and to workers) is a public art installation inspired by the artist’s poem 'I ride in marble fields’, from 2018. Taking the horse as a multicultural code within Brazilian and African-brazilian culture, the artist seeks to draw parallels between (1) the horses present in colonial and post-colonial monuments and their signifiers, (2) the flags that these monuments bring and their ideological conceptions, and (3) the horse as a representation of the human being that embodies (receives and allows oneself be ridden by) entities and deities within religions of African and Afro-Brazilian origin. The entities discussed here are Osala and the worker himself / herself, who, in this project, is recognized as an entity (spiritual agent) of the social space. The work consists of the Diaspora performance, the construction of the monument and the distribution of hominy at the end of the process

Contact direct with the artist Yhuri Cruz: yhuricruzart@gmail.com

The Horse is the Rising: Monument to Osala and to workers
Public performance and installation, 2019
Left: Vertical photo: 1m50 wide / 3m high
Right: 3 horizontal photos: 420 × 594cm 



The Horse is the Rising (Monument to Osala and to workers) is a public art installation inspired by the artist’s poem 'I ride in marble fields’, from 2018. Taking the horse as a multicultural code within Brazilian and African-brazilian culture, the artist seeks to draw parallels between (1) the horses present in colonial and post-colonial monuments and their signifiers, (2) the flags that these monuments bring and their ideological conceptions, and (3) the horse as a representation of the human being that embodies (receives and allows oneself be ridden by) entities and deities within religions of African and Afro-Brazilian origin. The entities discussed here are Osala and the worker himself / herself, who, in this project, is recognized as an entity (spiritual agent) of the social space. The work consists of the Diaspora performance, the construction of the monument and the distribution of hominy at the end of the process.

Contact direct with the artist Yhuri Cruz: yhuricruzart@gmail.com

MAMBAAH LOGO

Fabriani paper, dotted A5 sheets
2016
148 x 210mm 5.8 x 8.3 inch

[...] “Ga-mi-Ori is origami or development of my head. In Yoruba, Odaraya Mello combines references from different cultural backgrounds. Using the official language of countries like Nigeria, Togo, and Benin, spoken in Brazil by more than 30 million people, especially in religious cults with African origins, a translation practice that is, at the same time, critical and creative. [...]

Inkjet print on cotton paper
28x33 cm 
Edition of 5 + 1 AP 2008
Artist represented by Porta Vila Seca Gallery - Rio de Janeiro 
http://www.portasvilaseca.com.br/br/artistas/pedro-victor-brandao/

About Exhibition:

Mizhin Gbagyi Zanu (I Am Gbagyi) is a Gbagyi Tribe inspired Photography and and Ceramic Art exhibition which merges the traditional and contemporary cultures of Abuja, FCT. The exhibition features an editorial shoot of a group of Abuja youth, both of Gbayi and migrant backgrounds. 

The key concept is the use of the traditional Gbagyi fabric to create the backdrop and high fashion contemporary pieces worn by the youth. The fabric is decorated with tribal imagery of the calabash shouldering mother and the popular Gbagyi saying, " Mizhin Gbagyi Zanu (I Am Gbagyi)". 

Another feature is the infusion of Native Intelligence to enhance a contemporary scene with  the use of clay pottery and ceramic art to create the editorial set. 

As you journey through the I Am Gbagyi Exhibition you will enjoy imagery of Gbagyi Symbolism with a modern twist as artistically translated by Zainab Akwanga of Mambaah Cafe & Creative Hub, Abuja.

 1 Mother:  The working mother carrying a calabash of firewood on her shoulder with her child playing in the background ( traditionally the child is carried on her mother's back). 

2) Diversification: The Female farmer with her corn and motar symbolising the Gbagyi tribe's dedication to Agriculture.The Nigerian Government has recently showed a great interest in the diversification of the economy by reviving agricultural activities which the Gbagyis have never abandoned. 

3) Earthy Dining and Fired Warrior: Featuring the Clay pottery and Ceramic Art of laterns, huts, figurines, which traditionally were used by the Gbagyis for daily home life, but have currently become fashionable decor accessories used in the most beautiful contemporary homes and gardens.

 4) The Tribe of the Red Soil: Features of the Tribe, a combination of Gbagyi Royals and the working population showing the Gbagyi tribe's beautiful union and openness to all classes of the thier communities. The Gbagyi is a tribe so  welcoming that they welcomed all Nigerians to their home territory giving us the Red Soil City, Abuja, FCT as Nigeria's capital city.
Event: Abuja Art Week 
 
Abuja Art Week Digital 2020 Visual Theme: “I AM GBAGYI”
Shoot Title: Mizhin Gbagyi Zanu (Translation: I Am Gbagyi)
Art Direction: Mambaah Cafe Creative Hub / Zainab Akwanga @zizies_world @MambaahCafe @TamerriFestival
Videography: Dave Endabwedi @proalienfly
Photography: Ajay Abalaka @ajayabalaka
Costume & Styling: Aisha Kabir @bodykiss_fashion


Link to Curator: 
http://www.instagram.com/mambaah

Artists: Denilson Baniwa, Moara Brasil, Pedro Victor Brandão, Yhuri Cruz & Odaraya Mello


About Exhibition:
This exhibition contemplates the current debate of the decolonization of museums and the recovering of silenced histories. It opens with a performance by Denilson Baniwa at the 33 Biennial of SP. The indigenous artist creates a personal and powerful response to a questionable curatorial work presented by a white artist who was part of the biennial. 

The critique does not end here but expands creatively into the work produced by Moara Brasil, another indigenous artist, who questions identity by attempting to redeem her ancestrality through a journey into her family memories. Both the artworks of black artist Yuri Cruz and Odaraya Mello deal with their reality as Africans in diaspora and bring references to Afro-Brazilian religions. Cruz presents ‘A monument to Oxalá', an Afro-descendant entity for the Brazilian Candomblé.  

This recalls the idea of western monument and its resignification by the Afro-descendant Brazilian artist. Mello’s work shows the measurement of a time that leads to continuation and thus links to a journey of belonging to religious cults of African origin. These artworks by Brazilian indigenous and black artists dialogue with the photographic work of the white artist Pedro Victor Brandão that questions the supposed civilization, the value of money and theft. Brandão's series references the capitalist system on which Western civilization is built upon, the illegality and disrespect that are implicit in this system. 

About Curator:
LB lives and works between Brasil, South Africa and Italy. She works in teaching, research, critic, and curatorial in the areas of urban and cultural studies, within an Afro-centric decolonial theoretical approach. Her research areas: cognitive capitalism and creative economy, urban policies, and gentrification in the South, critical theory, and soft power. Between 2012 and 2018 she developed a research project and artistic practice in the cities of Johannesburg, Milano, and Rio de Janeiro with the title: The Gentrification Trilogy [gentrilogy.com] In 2016 she organized the international seminar Cidade em Transe at MAM Rio, she taught at Parque Lage EAV in 2015 and 2019 and at the Post Graduate Course of the School of Art at the Federal University in Rio de Janeiro. She held two individual exhibitions Braamopoly (2013), Room Gallery, Johannesburg, and Gentrilogy (2019) Hélio Oiticica Municipal Art Center, Rio de Janeiro. Post-doctorate in Visual Languages at PPGAV-EBA UFRJ, Ph.D. in Communication and Culture at PPGECO / UFRJ, with a doctoral internship at WITS City Institute, WITS University in Johannesburg. She has a Master in Built Environment, MBE Housing from the School of Architecture and Planning at the University of Witwatersrand WITS of Johannesburg, postgraduate studies in Urban Sociology at UERJ, State University of Rio de Janeiro, specialization in International Policies and Development at the University of Rome, Law degree from the State University of Milan. 


Link to Curator:
https://gentrilogy.com 

Artists: Anna Francesca, Egor Urakov, Martin Sommer & Hanna Besenhard 
Curator: Esther Vorosmarty
3d Design: Hanna Besenhard 
Production: Roberta Manganelli 

(Link to exhibition)

About Exhibition:

Within all its weight and lightness, water implies conflicts of a social and personal nature and manifests fragile constructs of society. Adaptation expresses through the power of gestures between language, text, body and space. A delusion of finding oneself in a sound space to escape the illusions of society. Striving and longing for a place, an encounter, a dialogue, a solution, an answer to countless questions. Disorientation and confusion of the senses, represented in their restless repetition.

Eurocentrism is a distortion of the world view, underlying most social theories and ideologies and is based on global relations of domination and suppression. Eurocentric radical thinking and acting is connected with a presumption of superiority that negates or disparages other ways of thinking and philosophies. By ignoring or undervaluing non-European societies as inferior to Western, Eurocentrism also caused the effect that other societies all over the world have the presumption that Western societies feel superior and privileged.

Historiography constructs Europe as an alternative to the rest of the world and Eurocentrism is still a problem of the present and the future. A crucial change of our civilization and a sustainable solution of bias can only be achieved globally.

About Gallery:
IKO-ART, founded by Erekle Tsintsadze, focuses on promotion and support of national and international artists in fields of services such as authentication (artwork appraisal services) and productional know-how (materials, transports and storage).

IKO-ART_SPACE is an exhibition area for art projects/exhibitions with a long-term plan to create an artist in residency program to give national and international artists the possibility to work on exhibitions, performances and workshops. 

Link to Gallery:
http://www.iko-art.com