Jé-ká-mi, is a collective exhibition that response to the comment of the current President of the Federal Republic of Nigeria, Bola Ahmed Tinubu who said in a press conference urged that the poor are allowed to breathe and should not be suffocated but allowed live, calling on all Nigerians to see it as a collective responsibility but this was negated by his inaugural speech in which he immediately announced the removal subsidy on Petrol. This sent a shock and panic down the spine of many Nigerian and the ripple effect of this is felt in several facet of the economy affecting daily means of livelihood. The exhibition incorporates sound, photography, mixed media and installation in an interactive atmosphere to highlight the current happenings in Nigeria.

What is it to be a feminist in different geographical and cultural contexts as well as within different disciplines as this of the visual? And is it only ‘one’ gender that matters? As early as 1990, a quarter of century ago, Judith Butler called upon the society to create “gender trouble” by disrupting the binary view of gender sex, gender, and sexuality.

To mark the Centre for Contemporary Art, Lagos’s 15th Anniversary celebration the time spent time reviewing the archive, remembering and discovery projects that spans the organisation’s history, The resulting exhibition is a site specific love letter to the space and its contribution to the growth of contemporary artistic practice in Lagos, Nigeria.

“What I find most appealing in people is how they are aware of their own fragility and yet are still strong and independent beings. I want to communicate this complexity in its entirety, that lack of a singular reading, and to channel the multi-layered character and the contradictions of a personality, the way they’re revealed in clothes, in styles, in attitudes, and the way a person lives. It’s the fractured reality of identity that fascinates me.”

Table of Paradox, a debut solo exhibition by Peter Okotor. Comprising three distinct parts, this new body of work takes an introspective look at the history of Nigeria since the attainment of self- rule, and metaphorically unravels how her historic past, embodied by hopefulness and freedom from dependent rule, expresses itself on the modern- day. Peter Okotor’s artistic production process adopts juxtaposition of archival materials, sound, and digital technology to highlight personal stories and how they contribute to the practice of memory and historical recall.

The exhibition is a monumental project by Nigerian artists Ozioma Onuzulike, in an exhibition entitled Seed Yams of Our Land which explores yam (Dioscorea spp.) – a prestigious and sacred food crop, and the yam barn – a site of political and economic power among various ethnic groups in Nigeria – as metaphors to engage the human condition in Africa shaped by unequal relations with first world countries and their imperial powers. Over the years, the artist has explored the materiality of clay and the allegorical images locked in its working processes. He relates his studio processes to the ‘resource curse’ that has plagued many African countries.