Akeem Lasisi

An exhibition titled Wanderlust, is still on at the Wheatbaker Hotel, Ikoyi, Lagos.

The exhibition, which will run till September, 15,  is presenting Chidi Kwubiri, Dilomprizulike (a.k.a Junkman of Africa), Emeka Udemba, Numero Unoma, Yetunde Ayeni-Babaeko and Jimmy Nwanne, who all have their professional roots in Nigeria and Germany.

Organised by SMO, with Sandra Obiago as the curator, the exhibition is  supported by Deutsche Bank, Still Earth Holding, the German Consulate of Lagos, ELALAN, and Louis Guntrum Wines. It  centres on world’s growing burden of cross-border migration.

In the works, the artists explore the concept of ‘wandern’, a term of Germanic origin, which, according to the curator, thrives on other people’s collective desire to travel and explore.

“Responding to a frequently polarised and fragmented world, these artists explore the internal and external aspects of Wanderlust vis-a-vis the modern reality and ancient roots of exploration inspired by the quest for safety, economic prosperity, education, and conquest, or simply for recreation, refreshment, and enrichment,” the organisers say in a statement.

They add that award-winning Chidi Kwubiri’s three-metre wide painting titled Transitions, in which a human form sits cross-legged with arms outstretched, touches on the very essence of Wanderlust, highlighting the need to “open up” emotionally, spiritually and physically when embarking on life journeys.

They further note, “Better known for her fashion photography, Yetunde Ayeni-Babaeko presents multi-layered photographs which reflect nuanced historical African migration narratives, while pushing the boundary of stylised studio images. Writer-photographer Unoma’s witty, tongue-in-cheek pop-art paintings and poetry touch on the irony of travel, teasing out deep- seated cultural sensibilities from differing African and European viewpoints. Known for his installation and performance art, Emeka Udemba presents stark portraits of  society’s marginalized wanderers reflecting the emotional and physical “up-rootedness” of (imi)migrants and (emi)grants.

“Junkman of Africa, who is known for sculptural installations of recycled objects, presents a new body of fragile paper works,  expressing the “transitional realities” of  wanders through human and animal forms migrating through abstract colour landscapes.  And,  finally, Nwanne’s soulful portraits of men and women haunted by memories of fading histories are a powerful reaction to European socio-political realities.”

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