Nolan Oswald Dennis, a versatile artist working across disciplines, is making a highly anticipated comeback to G.A.S. Lagos, following their initial research residency in January 2023. Supported by the Goodman Gallery, their first foray into Nigeria explored Nigerian post-colonial art education and the landscape of Nigerian modernism. Engaging in a whirlwind of activities, including interstate trips, site visits, interviews, and cultural research, Dennis conducted reconnaissance on locations slated for the upcoming edition of the Lagos Biennial.
Returning for a residency spanning from January 25th to February 7th, 2024, Nolan is now immersing themselves in preparations for the Lagos Biennial. This incubator period serves as a crucial phase for fine-tuning the details of the Traces of Ecstacy pavilion they are designing, which will hold artworks by former G.A.S. Residents, Evan Ifekoya, and Raymond Pinto. In addition, this period will allow Nolan to prepare to share the research and conceptual framework behind their design at the upcoming Traces of Ecstasy symposium. Beyond Lagos, Nolan expresses a keen interest in connecting with Ibadan and the New Culture Studio. Their research agenda extends to exploring the Nsukka school, the Mbari Artists and Writers Club, and other movements that defined Nigeria's modernist era.
How will you be participating in the Lagos Biennial? Can you tell us about what visitors could expect to see from you?
I designed the "Traces of Ecstasy" pavilion for the Lagos Biennial in Tafewa Balewa Square. The pavilion is a temporary architectural structure that draws inspiration from the poetics of self-transformative, self-reflexive, and self-defensive systems found in the recursive geometries common in African architecture (particularly Mokoulek Fractals of the Fali/Bana people of Northeastern Nigeria and Cameroon). The pavilion is an open structure that will house artworks by Evan Ifekoya, Raymond Pinto, Adeju Thompson (Lagos Space Station), Temitayo Shonibare, and a small digital essay-game of mine, all curated by KJ Abudu.
Are there any Biennial events that you will be participating in?
I will present notes from the research and conceptual framework of the architectural structure in the Traces of Ecstasy symposium.
Is there anything else that you hope to do on your return to Lagos? Is there anything in particular that you're looking forward to?
I've recently been thinking about the artbook landscape in Lagos so I'm looking forward to visiting Jazzhole again, CCA Lagos library, the recently expanded G.A.S. foundation library collection, the small bookstore at ko art space, and hopefully others.
Also, it's not exactly Lagos but I'm interested in the work of the New Culture studio in Ibadan, so hopefully I can find time to visit there.
RESIDENCY ARCHIVE
EVENT: Inagural Residency
Event Date: January 2023
Nolan Oswald Dennis' initial research residency in January 2023 was supported by Goodman Gallery. Their first foray into Nigeria explored Nigerian post-colonial art education and the landscape of Nigerian modernism. Engaging in a whirlwind of activities, including interstate trips, site visits, interviews, and cultural research, Dennis conducted reconnaissance on locations slated for the 2024 edition of the Lagos Biennial where he would go on to design the Traces of Ecstacy pavilion curated by KJ Abudu.
Aerial view, Traces of Ecstasy Pavilion, 2024. Photography by Amanda Iheme. Photo courtesy of KJ Abudu.
EVENT: Traces of Ecstasy Symposium
Event Date: 7th February 2024
At the Traces of Ecstacy Symposium, Nolan Oswald Dennis presented his lecture, "UBU-NTU: Architectural and Virtual Spatialtes of Being-Becoming" alongside a roster of artists, writers, and scholars whose works informed the theoretical thrust of the Traces of Ecstasy pavilion at the 2024 edition of the Lagos Biennial. The accompanying symposium includes presentations and discussions exploring a variety of relevant themes such as the fraught relationship between colonial modernity and African indigeneity; the pitfalls of postcolonial statecraft; the intersections of critical African studies and queer and feminist theory; and the affinities between African metaphysical schemes and digital technologies.
Interior view, Traces of Ecstasy Pavilion, 2024. Photography by Amanda Iheme. Photo courtesy of KJ Abudu.
ABOUT NOLAN OSWALD DENNIS
NOLAN OSWALD DENNIS is a para-disciplinary artist. Their practice explores ‘a black consciousness of space’ - the material and metaphysical conditions of decolonisation - questioning histories of space and time through system-specific, rather than site-specific interventions. They hold a Bachelor's degree in Architecture from the University of the Witwatersrand (Wits) and a Science Master’s degree in Art, Culture and Technology from the Massachusetts Institute of Technology (MIT).
Their work has been featured in exhibitions at the Goodman Gallery (Johannesburg, Cape Town, London), Palais de Tokyo (Paris), MACBA (Barcelona), AutoItalia SouthEast (London), CAN (Neuchatel), the Young Congo Biennale (Kinshasa) among others. They are a founding member of artist groups NTU and the Index Literacy Program, as well as a research associate at the VIAD research centre at the University of Johannesburg.
Nolan Oswald Dennis' second residency was supported by Lagos Biennial and G.A.S. Foundation.
