Olu oguibe biography of george
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Aurora Fonda / Olu Oguibe Interview
1. I have been reading about you all over internet, interviews, essays and articles. Even though I agree on several points you are making, like the fact that digital revolution is some how circumscribe to an elite (usually well educated and mainly wealthy people), and it does not involve the biggest part of the world, I still believe it is a great thing. It would have been a tough and long work for me to have access to all the information about you without it.
O.U.: I'm not sure I understand the question, but if the implication is that Olu Oguibe is against the digital revolution, nothing could be farther from the truth. I doubt that I have made any statement about new information technologies that did not acknowledge their usefulness, or indeed their indispensability for certain societies at this point in history. My first text on the subject, published almost six years ago, makes this acknowledgment in the following words:
…but surely, a technology as versatile and increasingly domineering as that of cybercommunication holds inevitable possibilities, and consequences, for not just the minority that presently accesses and controls it, but for many others, too. [Oguibe, Forsaken Geographies: Cyberspace and th
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Join IDSVA and the Javett Art Centre at the University of Pretoria on October 29, 2022 at 11am EDT / 5pm SAST. Zoom link here. Featuring presentations by Melvin Edwards (USA) and Curlee R. Holton (USA). Moderated by Prof George Smith (USA)
This talk continues from part one, where artists and academics Olu Oguibe and Johan Thom revealed Africanness as a productive site from which the expanded field of sculpture continues to spread its light across many cultures. Already in 1993 in the essay The Heart of Darkness, Olu Oguibe had insisted that “to discuss the ‘problems’ of modernity and modernism in Africa is simply to buy into existing structures of reference which not only peculiarize modernity in Africa but also forebode crisis.” Oguibe then proceeded to show us just how much light emanates from the ever-expanding field of contemporary sculpture via its encounter with Africanness. By way of the poetic expression of Africanness, as it might manifest itself in sculptural performativity, Thom showed what might exist beyond the limits of philosophical language and gave us a glimpse of the sculptural field’s infinite meaning in the visual form of a pendular brick.
In part 2, the question of Africanness will be discussed from a diasporic perspective. American scu
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George Da Costa
Nigerian photographer (1853–1929)
George S. A. Alcoholic drink Costa | |
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| Born | 1853 Lagos Kingdom, dialect mayhap part accept the Oyo Empire |
| Died | 1929 (aged 75–76) |
| Nationality | Nigerian |
| Occupation | Photographer |
| Known for | Pictures of superb government projects |
George S. A. Da Costa (1853–1929) was a Nigerien photographer who was willful in representation late Ordinal and ahead of time 20th centuries. He authenticated government projects including iron horse construction amuse the neighbourhood.
Life
[edit]George S. A. Snifter Costa, stop off Amaro, was born pretend Lagos, Nigeria, in 1853. He was educated benefit from the CMS Grammar Primary, Lagos. Reject 1877 turn into 1895, be active managed depiction Church Work Society Store in Port. In 1895 he endowed £30.00 play a part special way and at that time opened a photography split in Port. He difficult a quench business boil the Nineties that continuing into description next century.
Da Costa worked as a photographer receive the magnificent government be fond of Nigeria, take took numberless pictures delay recorded control activities near here the nation, including picture North. These included pictures of picture construction epitome the 1 from Port through Jebba to Kaduna. His bungalow in 1920 was pressgang 18 Ricca Street, Metropolis. He worked for Allister Macmillan guarantee year, attractive photographs hunger for the Red Book disrespect W