Part 1:Nigerian Modernism at Tate Modern: A First Encounter

I was excited to see this exhibition of Nigerian modernism at the Tate Modern. I wanted to see for myself what was on offer after hearing popular reviews. This is a collection of work by different Nigerian artists using a variety of mediums from bold paintings to bronze sculptures, wooden carvings, and beautifully crafted pottery.

Bodarinwa 75

There is a heavy political and cultural context to this body of work, giving the viewer an understanding of the underlying landscape the artists used to express themselves. I could feel the combined voices of these artists through their works, and I left with a deep respect and appreciation of what I saw.

So much to see and unpack here, it was a delight for me to take my time meandering through the variety set before me. Room to room filled with evidence of a unique visual expression; here are a few of my favs:

The Seven Wooden Sculptures—Benedict Enwonwu MBE—1960/61. (Bent, D)

The Seven Wooden Sculptures

1960/61.

These were large angel-like dark wooden sculptures. The detail of the carvings shows intricacy, creating a beauty in the wood with supreme craftsmanship. In my imagination, these imposing sculptures brought to mind religious connotations of spiritual journeys of these individuals, but when you read the artist information for this piece, it was a series of statues commissioned for a London newspaper. They depict people holding up newspapers and reading them, showing their expressions as they took in the news.

In comparison, Tutu – (1974) lets the viewer into the grief and sadness of a Yoruba royal woman. She seems to be in contemplation in the aftermath of the Nigerian Civil War – its depth of darkness and woe here can be felt through the brush strokes.

Elsewhere, another of Enwonwu’s works was the striking and colourful street scenes depicting vibrancy and movement—The Durbar Eid ul-Fitr, Kano, Nigeria 1955. The scene conveyed a sense of celebration, the rhythm of the drums, the bustle of the crowds moving to and fro, and the large umbrellas giving shade to the people in the heat of the sun. You could almost hear the colourful scene.

There is so much more to this exhibition than I can state here, a positive vibe that resonated with me. I saw and heard many visitors discussing how they were enjoying what they were viewing. There were people of Nigerian descent with their families, the young and elderly, taking their time moving between pieces.

I wondered if I was witnessing a moment of pride for them to see the work of people from Nigeria celebrated at the Tate Modern.

I learned something new about the background and culture of Nigeria (even if only a slice) that I wasn’t aware of before, and I felt that it was time truly well spent.

This exhibition will appeal to anyone interested in art from the continent of Africa, whether for studies or to learn about their own heritage (or wider heritage for those of us of Afro-Caribbean descent). This collection could start you on a path of discovery of other countries on the continent, with an insight into their arts, traditions, and culture, too.

It could also appeal to those just looking for something new and interesting to experience, who might just walk away pondering our shared human history.

With so much to explore, certain spaces naturally invite you to pause. For me, this was the small orange room dedicated to pottery.

Jernee