Peju Alatise : Facebook to Facebook Talk Concept Conceived and Initiated by Moyo Okediji The first in the Face-to-Facebook

Artist Talk series organized by the University of African Art Monday, April 15 at 7pm Nigerian time, 8pm in Ghana, and 1pm in Texas, USA.

Introduction Written by Oluwatoyin Vincent Adepoju Compcros Comparative Cognitive Processes and Systems Exploring Every Corner of the Cosmos in Search of Knowledge A discussion with artist Peju Alatise at the University of African Art group on Facebook. Facebook to Facebook Talk, an innovative approach to using online social networking in developing scholarship, is Moyo Okediji's latest creation in trend setting possibilities in the marriage of the Internet, particularly social media, art and scholarship. The University of African Art and The Center for Art of Africa and its Diasporas (CAAD) at the University of Texas at Austin groups on Facebook are central contributions of Okediji to art scholarship, being very rich, extremely busy, minute by minute, 24/7 platforms in presenting and discussing African and non-African art by contributors converging in virtual time from various parts of the globe. The University of African Art Facebook group is a development from the much older University of African Art website which publishes free PDF texts on African art. The adaptation of the concept to Facebook has generated a magnified collaborative experience and hugely increased creative outcomes. Okediji, addressing members of the University of African Art Facebook group on the 26 th of March, 2012, sums up this achievement: Dear all, Every day I look at the posts on the page of the University of African Art here, and I cannot believe my eyes. I am totally filled with joy. We started only about a year ago. TODAY WE HAVE GROWN TOGETHER TO BECOME THE GREATEST RESEARCH INSTITUTION OF AFRICAN ART IN THE WORLD. Is there any other art school on this planet that rivals our list of the cream of Africanist artists, art historians, critics, curators, dealers, connoisseurs, and appraisers?

No single art school can afford this distinguished list of contributors. No journal of African [art] is this endowed. No collection of images of African art is as rich as ours. An image at a time, a word after another, we have produced an unprecedented treasure within twelve months. And we all contribute daily, out of our generosity and devotion to the love of African art, without receiving a cent. And we are only one year old. All I can say is this: thank you all. Moyo Okediji Okediji is most perceptive, innovative and energetic in his use of the online medium. While maturing in the conventional academic space where he has become a professor of African Arts and Art History at the University of Texas, with powerful, sophisticated books, essays, exhibitions and a founding role in creating the Ona art movement to his credit, he has expanded his creative, cognitive and educational scope to truly embrace the new century of knowledge development and dissemination marked by the virtual world, particularly the online social network Facebook and its infinite potential for unceasing engagement with subjects presented in words, images, music and film, at any time of day or night by people converging from various parts of the globe. There is no way what he is achieving on those groups could have been done using any other kind of platform, both in the physical and virtual worlds. Okediji sums up his vision: "My intention in creating the University of African Art is to use the internet as a means of producing knowledge and disseminating of African expressive [forms]. We need to turn the university into an effective instrument of education. I have been approached by many people who desire further education in art education, and the University of African Art should soon begin to address a more systematic platform of educating those seeking formal education. We have to be a free medium for educating the world". He presents Peju Alatise in introducing the Facebook to Facebook Talk: Perhaps no contemporary African artist has, within the first decade of active practice, found a clearer voice than PEJU ALATISE'S. Clearly none has seamlessly synchronized painting, sculpture, installation art, and architecture as she does in this exhibition that reifies her commanding presence in the constantly expanding, incrementally confounding Africana artscape within which the work of El Anatsui presides. Moyo Okediji

Moyo Okediji . If Im right in saying that your mother is a judge in Nigeria, this is quite a remarkable achievement for a woman. Peju, has her success played any part in your determination to be successful as an artist?

Monday at 19:02 Like 3

Peju Alatise My Mother is a retired Magistrate. She went back to study law in the university at about the same time as i was enrolled into architecture. I doubt that there is any influence as i was already an artist. I did not plan to be a successful artist, I just wanted to create my ideas. I am content being an artist. Monday at 19:13 Like 7

Peju Alatise On second thoughts, In my family, we are quite determined and resilient. I think that accounts for something. Monday at 19:15 Like 5

Ekiko Ita Inyang Peju. You have a professional background in architecture and even though we are aware that architecture and art shares the same boundary, how has this shaped or influenced your fine art practice so far? Monday at 19:20 Edited Like 5

Jumoke Sanwo How was your transition into self discovery as an artist? How did you overcome the challenges that came along the way? Monday at 19:20 Like 4

Moyo Okediji She needs a couple of minutes to digest these two questions. Let's wait before asking more. Monday at 19:22 Like 3

Peju Alatise Ekiko Ita Inyang My training as an architect definitely has an influence in my art. 6 years of my foundation as a young adult, i was groomed to become an architect. That would have a profound effect on anyone. The advantage of studying architecture for me was the discipline. Monday at 19:28 Like 6

Peju Alatise An artist requires some level of discipline to practise professionally. I do not know if i would be a different type of artist if i studied visual arts. Another influence architecture had on me was the knowledge of materials. Material properties. This helps me understand the use of materials better, sometimes more on the technical side. The ability to think in 3dimensions too i owe to architecture. I was also a well trained draftsman. The list goes on. Monday at 19:34 Like 6

Peju Alatise Jumoke Sanwo, There was no transition into self discovery for me. I have been an artist probably since the day i was born. I have always known i will practise art. I never denied myself the exploration or crystallization of ideas. There was no light bulb moment. There are experiences that have guided me along my cross-roads, but they encouraged me to continue my practise. Monday at 19:40 Like 5

Moyo Okediji One of my students describes your work as robing, disrobing, revealing, obstructing and deconstructing the gendered body. What do you think of this description? Monday at 19:40 Like 7

Peju Alatise Interesting. In my work, which is sometimes representational, there is the mystifying and the revealing. There is the tendency for me to be seemingly pious (with covering of the female body because i see the art piece as a living thing, having feelings, being a spectacle to an audience and the muslim upbringing in me takes precedence). This is counter balanced with the need to call attention to issues the artwork is portraying. Monday at 23:04 Edited Like 7

Victor Okereke Peju goodevening. Interesting interview. Which schools did you attend? Did you ever practice architecture? Monday at 19:48 via mobile Like 2

Peju Alatise Good evening Victor, I studied Architecture in Ladoke Akintola University, Oyo state. I Practiced a couple of years, working for a firm before i set up a makeshift studio. I still practice architecture. Monday at 19:51 Like 5

Ekiko Ita Inyang Peju.If Im correct, you last exhibition was in 2012, entitled: Material Witness, held at the Nike Art Gallery in Lagos. I was left at awe upon a survey of your stylistically related body of works Purple Period (Lest I forget 1, 2, 3). Does these works represent you recent departures? They were quite fantastic! And what also caught my attention was their reference to the monument of the female body. Monday at 19:53 Like 3

Rikki Wemega-Kwawu Hey! Could you believe we had a sudden power outage here? Just when I was getting ready to move to another part of the city (Takoradi) to continue our conversation, the lights come back on. At least, I could take a sigh of relief... Lol! Monday at 19:55 Like 5

Peju Alatise Please Ekiko Ita Inyang, can you clarify what you mean by recent departure. Thank your for your comment on the show material witness. Monday at 20:02 Like 2

Peju Alatise I would like to add in general that working on the female body for me, is often times, relating my own direct experiences. Being female and being true to my nature i can mostly identify with the female body. This does not mean that all my subjects are feminist issues. The circumstances in Nigeria makes almost any female voice a feminist voice. I do not deny being feminist either. But there are many issues presented in my work. Monday at 20:03 Like 7

Rikki Wemega-Kwawu Peju, it is a great delight to be participating in this conversation, the first of its kind at University of African Art. I must say, you didn't have a crawling stage as an artist. There was no precocious beginning for you, struggling with medium, distilling your ideas and concepts before they congeal. With your first major art exhibition at Nike's Gallery, you were already a fully-fledged artist, catapulted straight into the brackets of the Nigerian masters, including El Anatsui. I was totally overwhelmed when I stumbled upon pictures from the show online. In fact, I was hit like a thunderbolt. I couldn't help but splash these pictures liberally on my FB wall. May I ask, how has this meteoric rise to the apogee of the Nigerian art scene, what with all the local and global attention, affected you personally and your art? How are you handling all this "overnight" success as an artist? Monday at 20:08 Like 4

Moyo Okediji Peju Alatise, thank you so much for talking with us for the past one hour. I have to be with my graduate students now for a seminar. The conversation can continue if Peju has time. I thank everybody who has made it such an exciting experience for all of us. Monday at 20:09 Like 4

Ekiko Ita Inyang The use of raffia(right?), to build up an encrusted surface unto the body of the canvas before depicting the figures on them. Their uniqueness and style of representation were quite different from your previous works. The contrast is just too clear and their luminosity offers the viewer a rich hue of monochrome. Monday at 20:10 Like 3

Peju Alatise No, it is not rafia, it was made with shoes strings. I believe the departure you may be referring to is the changes in my painting (2003-2006) which were mainly 2 dimensional. Earlier in my professional career, I painted, sculpted, designed and produced furniture, published my first novel, and designed architectural interiors. It

became increasingly difficult to practise in all these fields simultaneously. I decided to find a way to amalgamate all these practises into one. Being a mixed media artist (even though my portraits were more popular) it was not a difficult challenge. It was a very natural step taken. Monday at 20:21 Like 2

Benedict Onyemenam Peju made a comment emphasising that her motivating objective is the satisfaction of independent artistic expression, as opposed to the goal of attaining success. I suspect this is the start-up motivation of every artist. Since she is part of the universal imperative of survival, what would Peju recommend as essential for a struggling artist who is considering surrendering this cherished liberty, given the attractive, yet dubious promise of adopting consumer-dictated art. Monday at 20:26 Like 5

Peju Alatise I remember showing some of my mixed media works along with some portraits back in 2005/6, I got a review from a journalist saying, ''alatise's attempt to dabble into mixed media is unconvincing and a fail and she she stick to painting faces!'' I have been a mixed media artist since i was 4yrs old. Tuesday at 13:00 Edited Like 5

Rikki Wemega-Kwawu Peju, I reckon, going through your CV in preparation for this conversation, that your practical work as an architect, I presume after school, was primarily in interior decor. Was Interior Architecture and Decor your fields of specialty within the larger field of Architecture, which was your major in school? And may I reiterate Ekiko's earlier question, what direct effect has architecture had on your practice as a fine artist? Has your engagement with interior decoration been informing your unusual and complex choice of materials for your art work? Monday at 20:30 Like 4

Peju Alatise At Benedict Onyemenam, I wish i could like your comment more than once. I read somewhere once that choosing to be an artist is like choosing to be a nun or monk, only you don't need to be celibate. I do not think you can actually choose to be an artist, in my opinion, It is either you are or you are not. Now choosing to be devoted to the arts is something else. My recommendation to any artist is ''SPEAK THE TRUTH!!!" Monday at 20:35 Like 5

Peju Alatise Or at least be sincere. Monday at 20:35 Like 4

Rikki Wemega-Kwawu In one interview, you mentioned your artist brother as your inspiration. Apart from your brother, are there other major names you look up to, who inspire you? Do you look at other artist's works? If you do, who are your favorites?

Has the history of art and, for that matter, African art, been of any influence on your practice? Monday at 20:40 Like 3

Peju Alatise At Rikki Wemega-Kwawu, my degree in architecture is the bachelors in technology, having attended a university of technology. My first month while working in an architectural firm right after graduation, I was introduced to an architect Alva Alto. I was to read and study his works for the month without engaging in any design with the rest of the design team. Alva Alto Introduced me to the world of design details and designs with direct relation to the human body and it's habits. This was my initiation to design interiors. I practised both presentational architecture and interior design (not decoration) with this firm and also on my own. The saying, "education never stops in the four wall of school applies to me here." My knowledge and practise in these fields are all merged and are no longer separate practises. It is cumbersome to find where on ends and the other begins. Monday at 20:52 Like 5

Rikki Wemega-Kwawu Peju, excuse me for throwing in questions faster than the incoming answers, there's is so much on my mind to ask you. My questions and comments will be coming quite fast, but don't be overwhelmed by them; just take your time to answer them. What do you think of the role of the visual artist in catalyzing change in the world and specifically in their communities? Monday at 20:55 Like 3

Peju Alatise At Rikki Wemega-Kwawu, I must have missed one of your earlier comments. I have been practicing professionally for at least 14 years. The exhibition at Nike art gallery is no way near my first showing. you wrote "you didn't have a crawling stage as an artist. There was no precocious beginning for you, struggling with medium, distilling your ideas and concepts before they congeal. With your first major art exhibition at Nike's Gallery, you were already a fully-fledged artist, catapulted straight into the brackets of the Nigerian masters, including El Anatsui." Dear Rikki, I did my fair share of crawling and tumultuous beginnings, please i beggy oh, I've earned my street credibility. please don't take it from me because i loved every bit of it looking back now, I have worked extremely hard and not ashamed of it. This is not to say that i feel accomplished, NO WAY! I am still on my way to the truth and not close enough to it. Monday at 21:14 Like 4

Rikki Wemega-Kwawu Peju, can I describe you as Africa's Renaissance woman? You are a multi-media artist, working in many very-diversified and, sometimes, incongruous styles. And you write, too! Surprisingly, I just gathered from you that you still practice your architecture. Wow!!!..You're amazing!!! Where do you get all the energy from? What's a typical creative day like for you? You must've a very huge studio to accommodate your unbridled creative energy, don't you? Monday at 21:20 Like 1

Oluwafunmilayo Inyang Peju , i dont have questions , however my submission would be on your method and materials...most artists are bewilded when it comes to colour schemes...i notice that your works have architectural dimensions, but your colour schemes are prolific and assertive. The use of black in your art is well highlighted by splashes of vibrant hues that leave the audience thirsting fir more. And for this , i say , that your femininity is well pronounced and grounded in your art. I have followed the interview with rapt attention and i wish you worthy patronage in your trade. Monday at 21:22 via mobile Like 6

Peju Alatise Rikki Wemega-Kwawu, There are many artist that i have discovered in my journey, famous and obscure that i look up to. I am fascinated by Do ho Suh, Antony Gormley. Piet Mondrian (from my architectural practice while studying Frank lloyd Wrights), if i were to list my favourites, we will be here for a while. Susan Wenger's plays a big role in my life. I May be right to say that almost every artist (dead or alive) has an imprint in my journey as an artist. Monday at 21:23 Like 3

Peju Alatise Rikki Wemega-Kwawu, The role of an artist in catalyzing change in the world and specifically their communities can be reduced to one simple word, INFLUENCE. We influence people's thoughts, how to think and feel. We teach the world how to see and Listen. We teach the world how to recognize and engage themselves and others on a deeper level. Monday at 21:30 Like 4

Ekiko Ita Inyang Peju. Now, to your sculptural and installational works. African fabric or textile seem to be playing a very important role in the compositions of these works. Please, let us know what it is like to be working with this material. Is it because of the possibility of cultural intimacy they enacts or just for decorative purposes or both? Monday at 21:35 Edited Like 2

Rikki Wemega-Kwawu You're so profound and philosophical with your answers. That's very admirable, I must say. I'm really enjoying our conversation. Your debt of thought easily reflects in your works. Great art couldn't come from a shallow-minded individual. You make the African woman proud. Kudos! Yes, back to our earlier conversation...Admittedly, you've paid your dues as an artist, no two ways about that. But seeing how far you've come as an artist in fourteen years or so, to be put on the same pedestal with great masters like Bruce and El, you'd agree with me, that it's still been a meteoric rise. You don't have to be self-effacing about that. Lol... Many artists work a life-time in complete obscurity. Monday at 21:38 Like 2

Peju Alatise At Ekiko Ita Inyang, Excerpts from my catalogue: The most frequently used medium is the recyclable Nigerian-print fabrics. The contributing reason for this is the Nigerian-English language often substitutes the word fabric with material. In western-Nigeria, the cloth (wrapper) is a powerful symbol for covering all human secrets, mysteries and shame. In pre-colonial era, there was a certain type of clothing for certain ceremonies; certain colors worn on certain days by certain people. The motifs and symbols were drawn and printed on clothing in a language peculiar to the ethnic group. The cutting of the motifs and symbols on the wrappers mostly collected from my mother(which are quite modern prints) are used as collages to recreate a new visual language. Every piece of material used gives a symbolic relevance to the overall composition..........As mentioned earlier, the Fabric collage is the most recurring. I was first inspired by the patch work designs by the renowned Nigerian fashion designer Ituen BasI. I was interested in the way she designed her clothing after reading an article about her. There had been a ban on the importation of fabrics into Nigeria. She reinvent the use of Nigerian print fabrics successfully. There was a burst of mismatched colors and prints, sewn together in a way no other designer had ever done. It became the new identity for contemporary Nigerian fashion. This I definitely borrowed from Ituen, but also taking it to another direction; the painters direction and my fabric collage was born. Monday at 21:41 Like 5

Peju Alatise At Rikki, Honestly speaking, cutting all 'bull-shit', I am very uncomfortable to be put on any pedestal, i derive no pleasure. I am looking up to Dr. Bruce and El. I just want to do my work and do it well. There was a time i did crave recognition for my work. It took too much energy and i lost focus. I'm not going back there. Monday at 21:50 Like 7

Peju Alatise At Oluwafunmilayo Inyang, Omo maami, Thank you. Monday at 21:53 Like 4

Ekiko Ita Inyang May be that was why Nigerian metal sculptor Fidelis Odogwu described you as ''weird MC'', in a television interview in 2011 or 2012 (after the iconographic, nonconformist Nigerian female rapper's stage name, from Ogun state) because of the concepts or design direction your installational and sculptural works always take. Let me ask you, what is it like working with that great guy(Fidelis Odogwu) whom I reckon as the St Peter of Olu Amuda. Monday at 21:58 Edited Like 4

Peju Alatise Fidelis Odogwu I fondly call The Prince of Iron, I know nothing of him being a saint peter. This is a man that has the "ability to punish and exalt metal, transforming it in a way that seemed disputable". I have worked with him for over eight years now and we remain, dear friends, colleagues and family. His expertise

influence my work a great deal. He is of great support to me. If i must choose a pedestal, then i hope i am worthy to sit on his shoulders. Monday at 22:08 Like 5

Ekiko Ita Inyang Peju. You are also the author of two books, Silifat: 12 seasons and Orita Metathe crossroads ( I have not read any of them. I hope to get an autographed copy from you after this conversation. *lol*). However, very few painters are writers. At least I know of the Chinese exiled artist in France Gao Xingjian. He paints and he is also a novelist, playwright and poet. Infact he won the Nobel Prize in Literature in 2000. Even the Trinidadian watercolourist Derek Walcott is also a writer and won the Nobel too, in 1992. Are we still going to see more books from you? However, I understand that Sifilat is not a complete fictional work. Tell us about your writing experience. Monday at 22:15 Like 2

Peju Alatise It has been most honorable and of great pleasure to me, engaging with you all, Oluwafunmilayo Inyang, Rikki Wemega, Ekiko Ita Inyang, Victor Okereke, Benedict Onyemenam, Jumoke Sanwo and all other participants . To Prof Moyo Okediji who gave me this avenue to speak and answer questions. Thank you and good day/evening/night. Monday at 22:20 Like 4

Rikki Wemega-Kwawu Let me indulge a little bit more of your time, Peju. A couple more questions before you leave... If you can't comment on them now, you may do that later. Monday at 22:25 Like 3

Benedict Onyemenam Fantastic evening Prof! Fantastic engagement - Peju, Rikki, Ekiko, Oluwafunmilayo, Jumoke et al... You have all unearthed such valuable material with superior profit than ten rich Gold Mines, and that without occasioning any environmental or human degradation. Bravo all. Monday at 22:28 Like 3

Benedict Onyemenam Rikki's request is equal to an Encore by the appreciative audience of a Maestro's performance. We all echo the refrain, and look forward to the next episode. Monday at 22:32 Like 3

Moyo Okediji Next week, same time, we will be engaging The Olu Oguibe. I will give a better introduction later. Dr. Oguibe left Nigeria many years ago, and some people, especially the younger ones, may not fully know his contribution to contemporary African art. Monday at 22:35 Like 3

Moyo Okediji Ms. Alatise is preparing for a major exhibition is Europe. It would be wonderful for her to return and talk more with us after the opening of her exhibition. Monday at 22:45 Like 2

Moyo Okediji On behalf of the University of African Art, we thank Peju Alatise for giving us such a wonderful understanding of her creative work. We are especially grateful to Rikki Wemega-Kwawu and Ekiko Ita Inyang for co-hosting this talk. We are appreciative of everyone who has participated in making our first FACE-TOFACEBOOK Artist Talk so engaging. Enjoy thr rest of the evening. And join us next with to talk with Olu Oguibe. Monday at 22:52 Like 6

Rikki Wemega-Kwawu I'm yet to have a direct physical encounter with your work, and I'm anxiously looking forward to that. I never knew of Peju Alatise before. My first encounter with your work was online, when I bumped into those electrifying pictures from your show at Nike's. What comes across immediately looking at your massive installation (for a moment I thought it was a group exhibition) and the sheer variety and complexity of work is the brute force and emotive power which emanate from the individual works, at least, those captured vividly by the pictures. Before, I could read a line about you, I knew instantly, here was a GENIUS we were dealing with. However, in my further research about you yesterday, in preparation for this conversation, I stumbled upon your paintings for the first time. I'd read before that you painted as well, but I was yet to see any painting from you. I was taken aback by the paintings. They were technically very-well executed, no two ways about that, but in sharp contra-distinction to the power in your sculptural installations. I'm afraid, they were very academic and soft (perhaps belying the tenderness of your femininity because of their autobiographical signature) and lacked that radicalism, emotive power and brute force which your sculptural work encapsulates. This has nothing to do with the interesting anecdotal content of the work. Of course, this is my personal and candid critical observation, and I trust my aesthetic judgement. In synchrony with your strong sculptural style, perhaps, I was a expecting a painting style with the ferocity and explosiveness of an Ablade Glover, a Basquiat or a De Kooning. I'd love to hear your viewpoint on my observation. Monday at 23:23 Like 4

Sofo Elijah It is rear for young artist like me to be exposed to such interesting and academically stimulating discussion as this. Having being introduced to Ms. Alatise' works by Rikki after her show at the Nike gallery, I have gotten a lot more insight and understanding of her work and philosophy. Thanks Prof. for this platform. With the up coming discussion with Dr. Olu Oguibe, I am eagerly anticipating a more explosive discussion especially when it comes to his views of young, upcoming artist from Nigeria and Africa as a whole. I have read some essays of his an look forward to that discussion. Monday at 23:51 via mobile Like 4

Rikki Wemega-Kwawu Peju, in my now famous essay, "The Politics of Exclusion: The Undue fixation of Western-based African Curators on African-Diaspora Artists: A Critique," I argued vehemently that Africa, the homeland of the great El Anatsui, abounds in creative talents, who are doing extraordinary work comparable to the best anywhere in the world. They have, however, been marginalized in preference to our artists brothers and sisters who are domiciled in the West. Coming upon your work, I must admit, I felt vindicated! You were a typical example of just what I was advocating. You were, indeed, a showpiece to the world, I have no doubts in my mind about that! Now, to my very last question. What advice would you give younger female artists on the continent, who would be looking up to you as a role model? Tuesday at 00:32 Like 1

Moyo Okediji Rikki Wemega-Kwawu, many of us in diaspora hold contrary views. We believe that the curators of the west neglect us to "discover" artists living in Africa. Some of us had far more visibility while living in Africa, and believe that we would have continued to remain in favor had we remained in Africa. Tuesday at 00:47 Like 4

Ayoola Gbolahan Moyo Okediji Prof your response to Rikki is a surprise to me. i would have agreed with his view completely Tuesday at 00:54 Like 1

Moyo Okediji This is the truth, Ayoola Gbolahan. I'll give you a personal experience. You would notice that The Smithsonian National Museum of African Art in Washington DC is opening a show titled "Earth Matters." About two weeks ago, my solo exhibition, "Art for Earth's Sake" opened here in Austin TX. I have been using the earth as a painting medium for more than 30 years. You would think that the curators of that exhibition would have an interest in including my work, especially because they know me at the museum. No. I couldn't even get them to respond to my mail. I believe that if I were living in Africa, they would come to me--it's kind of adventurous reminiscent of Mungo Park--and get me into the show. Those are matters to be discussed when the right time comes. Only one or two artists get the focus--it's a celebrity culture that has nothing to do with creativity and inventiveness. Tuesday at 01:02 Like 4

Rikki Wemega-Kwawu The erroneous assertion from the curators under question in my essay was, there was nothing worthwhile happening artistically in Africa and all the best African artists had relocated to the West, warranting their lop-sided curatorial strategies. Anyhow, Moyo, let's leave that discussion to another day, it's too complex a topic, and I'm already exhausted. The focus for the moment is Peju! Let's celebrate her. Tuesday at 01:03 Like 2

Moyo Okediji Check out my response above yours. Peju's work is the catalyst for the discussion. Tuesday at 01:04 Like

Ayoola Gbolahan wow this is why i looooooooooove this group. just getting educated like crazy on a daily basis. if you aint in this group, you are dulling meeehhhhn lol Tuesday at 01:06 Like 4

Ayoola Gbolahan nobody can do bojuboju for me o lol Tuesday at 01:07 Like 1

Ayoola Gbolahan " I believe that if I were living in Africa, they would come to me-it's kind of adventurous reminiscent of Mungo Park--and get me into the show. Those are matters to be discussed when the right time comes. Only one or two artists get the focus--it's a celebrity culture that has nothing to do with creativity and inventiveness." Prof Moyo Okediji. now this why Fela sang " that is why black man dey suffer today " .......sometimes i just think our lives are in dealers and curators hands. if you like make you paint with your blood a la Gogh, na only your mama go cry for you. Nothing for you unless u jam a certain Larry Gagosian or his likes hahahahahahahahaha Tuesday at 01:15 Like 4

Rikki Wemega-Kwawu It's very unfortunate how you were left out in the show. I don't understand it myself. You really deserved to be in it, as well as others I know whose works are directly of the earth. I'm really curious to know who-and-who are in this mega-show, but I can hazard a guess that the African artists in the Diaspora would far out-number those on the continent. If, it is the contrary, then I'm glad the curators are getting awakened to the "The Politics of Exclusion." It's only a very recent development that curators of contemporary African art are seriously beginning to look into the continent. I still think we're digressing too far from Peju. This is a whole topic for another platform. Tuesday at 01:20 Like

Rikki Wemega-Kwawu Many thanks, Moyo, and everybody else! It's been a wonderful evening. Good night. Special thanks to Peju for making yourself available for this stimulating conversation. I hope you get to answer my last remaining questions/comments. All the best! Tuesday at 01:28 Like 3

Benedict Onyemenam Thank God I am seeing these comments about marginalization and lopsidedness, 3 hours after the tears dried on our faces!!! Come on my guys, it has nothing to do with curators or galleries. It is just this thing called LIFE. Tuesday at 05:25 Like 2

Benedict Onyemenam Anyone who thinks Gagosian has a halo or carries a magic wand must be hmmm. Like all humans, he just keeps working and pushing. Let us do the same, and apply energy to discovering how this excellent initiative can be employed on all sides of the Atlantic to advance our goals. Great job guys, and thanks for the priviledge of knowing you all. Tuesday at 05:29 Like 3

Peju Alatise I Woke up to find even more relevant questions and i'll do my best to answer them. Tuesday at 08:15 Like 2

Peju Alatise At Ekiko Ita Inyang, Yes there are more books in the pipeline. I find writing to be another medium in my work. I remain an artist, using words to create imagery in the mind of a reader. Most of my art works are stories. Recently I developed a keen inte...See More Tuesday at 09:45 Edited Like 3

Ekiko Ita Inyang @ Peju Alatise: thanks for responding to my questions. It was interesting having you on FACE-TO- FACEBOOK TALK yesterday evening. Tuesday at 08:36 Like 3

Peju Alatise At Rikki Wemega-Kwawu, Between 2003/2007 was a phase i was in when writing was my main pursuit alongside architectural designs. I was in the process of publishing my first book 'Orita-meta'. I was more concerned with creating the characters in my stori...See More Tuesday at 08:44 Like 3

Peju Alatise At Rikki Wemega-Kwawu, I am aware of the influence/bias of gender in art appraisal/appreciation. My work will definitely be perceived differently if i were a man. But could care less about gender bias. There is no such thing are female Art (if there is...See More Tuesday at 08:57 Like 3

Peju Alatise I agree with Benedict Onyemenam with regards to galleries, museums and curators. These are human beings and human-manages-institutions. Human beings come with a manufacturers-warning called PERSONAL OPINION, personal taste and personal idiosyncrasies. ...See More

Tuesday at 09:18 Like 3

Peju Alatise Again, I am thankful to everyone who participated in this discussion. Indeed it has been a privilege to engage with you all. Thank you for your encouragements and sincerity. Tuesday at 09:26 Like 2

Ayoola Gbolahan Life. i dont even know how many times its been redefined just cause its easy to do so Tuesday at 09:37 Like 1

Oluwatoyin Vincent Adepoju Wonderful concept in developing scholarship through social media. Clearly, Okediji' is creating trend setting possibilities in the marriage of the Internet ,particularly social media, and art and scholarship. It would be good to have all these as books one day, perhaps collected year by year. Does anyone know of any Facebook sites/groups/pages that discuss non-African art? Moyo Okediji Peju Alatise, when you wrote, "My advice to 'female-artist' is to put gender aside and work," does this change your self-definition as a feminist artist? Because you once described yourself to me as being feminist. Has your position changed? 8 minutes ago Like 57 minutes ago Like Oluwatoyin Vincent Adepoju This talk has been compiled and posted as a PDF file at the free document archive Scribd: http://www.scribd.com/doc/136702300/Peju-Alatise-Face-to-Facebook-Talk and the academic publishing platform academia.edu : at http://www.academia.edu/3322640/Peju_Alatise_Face-to-Facebook_Talk where it is described as "A discussion with artist Peju Alatise at the University of African Art group on Facebook. An innovative approach to using online social networking in developing scholarship". It is also blogged at: Walks of Art : http://mywalksofart.blogspot.co.uk/#!/2013/04/peju-alatise-face-to-facebooktalk_18.html The file will be updated with any additions to the discussion. Apologies if any one feels bad I did not inform them of my intentions to so archive the discussion but the pace of knowledge development these days is so rapid, I resolved that one

needs to act quickly before the discussion vanishes into the avalanche of information on Facebook and before one is swept away by the myriad competing interests on one's attention. I will also distribute the conversation to various listserves. Any comments from those platforms will be posted here.

Peju Alatise Face-to-Facebook Talk www.scribd.com Peju Alatise At Moyo Okediji, If i were a man i would still be feminist! I would fight for justice regardless of my gender, age, sexual orientation, race, etc. Again living in a country such as ours makes me even more determined to speak for equality of sexes. Now being feminist is a totally different issue from work ethics! I believe a possible way of overcoming gender politics in workplaces is to keep working effectively and remain relevant. I am not trying to trivialize gender bias, what i am saying is sometimes seeking recognition is not always the solution. There is a reason why we have very few women artist in nigeria in comparison to the number of men. The culture here does not favor women in this field (Other fields include engineering, politics, transportation, etc.). Although views are changing, it is not changing fast enough for the 21st century. Women should not focus on limitations but overcome them. My statement "put gender aside" means focus on creating solutions. 19 minutes ago Like 2 Moyo Okediji I appreciate the clarification, Peju. 17 minutes ago Like 2