For Yinka Shonibare’s second solo exhibition in Africa and his first on the continent in fifteen years, the British-Nigerian artist presents Ruins Decorated – a new body of work which sparks a … Can the hybridisation of icons of power be the solution to breaking down binaries required by dictatorship and prejudice? Sign up to receive information about Yinka Shonibare CBE exhibitions, news and events. Please enter all required fields (First Name, Last Name, Email). He returned to the UK to study Fine Art at Byam Shaw School of Art, London and Goldsmiths College, London, where he received his Masters in Fine Art. Shonibare's work has been exhibited all over the world and is held in museum collections including Tate, London; Victoria and Albert Museum, London; Arts Council Collection, London; National Museum of African Art, Smithsonian Institute, Washington, D.C; Museum of Modern Art, New York; Museum of Contemporary Art, Chicago, USA; National Gallery of Canada, Ottawa; Moderna Museet, Stockholm; National Gallery of Modern Art in Rome, Rome and VandenBroek Foundation, The Netherlands. A permanent public installation of a Wind Sculpture at Howick Place, London, was unveiled in 2014. You can unsubscribe or change your preferences at any time by clicking the link in any emails. In reality most people’s cultures have evolved out of this mongrelisation, but people don’t acknowledge that. Boards are the best place to save images and video clips. Yinka Shonibare CBE (RA) was born in London in 1962 and moved to Lagos, Nigeria at the age of three. His work is included in notable museum collections including Tate, London; the National Museum of African Art, Smithsonian Institute, Washington D.C.; Museum of Modern Art, New York; Guggenheim Abu Dhabi; Moderna Museet, Stockholm and the Museum of Contemporary Art, Chicago among others. In 2010, Nelson's Ship in a Bottle became his first public art commission on the Fourth Plinth in Trafalgar Square, London. What happens then when former subjects of the British Empire become cultural hybrids themselves? In 2004 he was nominated for the Turner Prize. Please enter all required fields (First Name, Last Name, Email, Message). While the exhibition marks a rare moment of visibility for the artist on the African continent, it also forms part of an increasing momentum to engage with Shonibare’s practice in South Africa, following Addio Del Passato on Zeitz MOCAA’s inaugural exhibition in 2017 and soon to be followed by the Norval Foundation’s exhibition of Wind Sculpture (SG) III in February 2019. The IBM strategic repository for digital assets such as images and videos is located at dam.ibm.com. Yinka Shonibare CBE explains what it takes to be an artist in an interview with artnet as part of the website's collaboration with Art21. Please enter all required fields (First Name, Last Name, Email, Message). Part four, The African Library, considers the contributions of people like Kwame Nkrumah and Nelson Mandela to African independence struggles following the second world war. Through beguiling sculptures, staged photographs and paintings, film and installation, Shonibare considers narratives of power and reinvention in relation to the rise and fall of western empires and the struggles for African Independence. Yinka Shonibare CBE (b. London, UK, 1962 -) moved to Lagos, Nigeria at the age of three. The globe shows a map of the British Empire before the first world war. In 2002, he was commissioned to create one of his most recognised installations, Gallantry and Criminal Conversation for Documenta XI. Shonibare continues to live and work in London, United Kingdom. Between Mimesis and Alterity’, in Yinka Shonibare: Be-muse, p.16) and the fabrics he uses are a symbol of this multi-cultural identity. 2018 What I do is create a kind of mongrel. Select 100 images or less to download. In February 2020 ‘Yinka Shonibare CBE: Justice for All’ opened at The Arts Centre, Singapore in conjunction with Singapore Arts Week. Through his interdisciplinary practice, Shonibare’s work examines race, class and the construction of cultural identity through a political commentary of the interrelationship between Africa and Europe, and their respective economic and political histories.