Peju Layiwola

Peju Layiwola is an art Historian and visual artist from Nigeria who works in a variety of media and genre. She is listed as a "21-st Century Avant-Garde" in the book Art Cities of the Future published by Phaidon Press[1] She is currently a Professor of Art and Art history at the University of Lagos[2][3] and has been described as a "multitalented artist."[4]

Peju Layiwola
Born
Adépéjú Olówu

(1967-09-29)29 September 1967
Benin City, Edo State, Nigeria
NationalityNigerian
Other namesPeju Olowu Layiwola
Alma materUniversity of Ibadan, University of Benin
OccupationArtist, sculptor, professor
Home townÌsàlẹ̀ Èkó Lagos
Parent(s)Babátúndé Ọlátòkunbọ̀ Olówu, Princess Elizabeth Olowu (née Akenzua)

Biography

Born Adepeju Olowu, Layiwola is the daughter of Babatunde Olatokunbo Olowu and Princess Elizabeth Olowu (née Akenzua).[5] Her paternal grandfather was a business magnate who established the first cinema and printing press in Benin and the Delta region in the old Midwestern state. Her maternal granddfather, meanwhile, was Oba Akenzua II, king of Benin, who reigned from 1933 to 1978. She is also a cousin to DJ P Tee Money (born Thompson Iyamu).

Layiwola has built on the artistic tradition of her mother, Princess Elizabeth Olowu, the first female bronze caster in Nigeria,[6] a status she achieved through resilience in a culture that is very patriarchal.[7] Her dual Yoruba and Edo heritage and history has inspired her professional practice.

Professional background

Layiwola received a BA (Metal Design) from University of Benin in 1988, and an MA and PhD(Visual Arts) from the University of Ibadan, Nigeria in 2004. She was nominated partner for the US State Department smARTpower project initiative by the US Secretary of State in 2012. Her works comprising installation and prints have been exhibited in Nigeria and outside the continent. She is the founder of the Women and Youth Art Foundation, an organisation committed to empowering women, young girls and youth through the arts. She has also served on art juries.[8] Layiwola, who initially began working with metal, now explores a broad range of media that engage with history, memory and cultural expropriation.

In her most ambitious solo exhibition, Benin1897.com:Art and the Restitution Question (2010), Layiwola's return to the notorious British Expedition of 1897 and the plundering of prized cultural artifacts looted from the bedchamber of her forebears brings together her personal and communal history. Her other collaborative public project, Whose Centenary? (2014) is also informed by history and the archives. She gave a talk at the Rhode Island School of Design in 2019, and one at the CAA-Getty International Program in 2018 on her work.

Of her work and inspiration, she says "I got a lot of inspiration from my mother, having seen her as a young girl casting in metal. So, I opted for metal design at the University of Benin, which was broader spectrum from what she studied because she did metal casting under sculpture. But I specialize in metal design, which incorporates jewelry production, metal casting etc."[9]

Layiwola's art projects and mentorship programs have been described as having had impact on generations of younger artists around Nigeria.[10]

Advocacy for return of stolen art

Layiwola has led public advocacy for the return of art works stolen from Benin during the Punitive Expedition of 1897.[11][12]

Selected writings
  • Layiwola Peju (2017) Transcultural Conversations: American Art and Nigerian Art in Dialogue, NKA Journal of Contemporary African Art-41, November, NKA Publications, NY, pp. 140– 152.
  • Layiwola, Peju (2017). ‘Festivals and the Sustenance of a Collective Memory’, Book review article. A calendar of Traditional Nigerian Festivals by Frank Aig Imuokhuede, Eyo Journal, 20, Vol 2.
  • Layiwola, Peju (2016) ‘Art at the Heart of Giving: Bruce Onobrakpeya and the Harmattan Workshop in Retrospect, Onobrakpeya and the Harmattan Workshop, SMO Contemporary, (16 September – 16 December 2016), Lagos Court of Arbitration, Lagos.
  • Layiwola, Peju (2015) ‘Whose Centenary? Public Art Project as an Expression of Colonial Memory’ Nigeria Field Society Journal, 85 th Anniversary, No 80, pp. 51–68.
  • Layiwola, Peju (2015) ‘Ben Enwonwu’s The Risen Christ as a Religious Icon at the University Of Ibadan’ The City State of Ibadan: Text and Context Ed. Dele Layiwola, A publication of the Institute of African Studies, University of Ibadan in collaboration with Bookbuilders (Editions Africa), Ibadan. pp. 169–176
  • Layiwola, Peju (2015) Walker and the Restitution of Two Benin Bronzes, Eyo Journal of the Arts and Humanities, Maiden Edition, Department of Creative Arts, University of Lagos. Ed. Peju Layiwola. pp 175–185.
  • Layiwola Peju (2014) Clad in Gold: The Art of the Jewel Smith in Ibadan: African Notes, vol 33, No. 1&2, Journal of the Institute of African Studies, University of Ibadan, Nigeria. pp. 18–26.
  • Layiwola Peju (2014) Making Meaning from a Fragmented Past: 1897 and the Creative Process, Disturbing Pasts: Memories, controversies and Creativity, Open Arts Journal, The Open University UK, Ed. Leon Wainwright, Summer Issue 3, pp. 86–96.
  • Layiwola, Peju (2014) A Walk through the Hearth, Mandela: Tributes to a Global Icon. Ed. Toyin Falola, Carolina Academic Press, Durham, North Carolina. pp. 288–289
  • Layiwola Peju (2013) Dele Jegede and His Enduring Legacy at the University of Lagos, Parodies of a Nation: Nigeria and the Art of Dele Jegede, Eds. Aderonke Adesola Adesanya and Toyin Falola, Africa World Press, USA. pp. 369–378
  • Layiwola Peju (2013) ‘From Footnote to Main Text: Re/Framing Women Artists from Nigeria’ in Africa and Its Diaspora in Africa and Its Diasporas, n.paradoxa, Ed Katy Deepwell, KT Press UK and Andy Warhol Foundation for the Visual Arts, New York, Vol.31, pp. 78–87
  • Layiwola Peju (2012) ‘Welding the Lethal to the Unusual: Olu Amoda and the Art of Metal Assemblage’, Cequel: Shattering the Barriers of Artistic Conventions, Ed. Ohioma Ifuonu Pogoson, Institute of African Studies, University of Ibadan, Ibadan. pp. 112–123.
  • Layiwola Peju (2010) ‘Lace Culture and the Art of Dressing Well in Nigeria’, African Lace: A History of Trade, Creativity and Fashion in Nigeria, Eds. Barbara Plankensteiner and Mayo Adediran, Museum of Ethnology, Vienna (Museum fur Volkerkunde,), National Commission for Museums and Monuments, Nigeria, Snoeck Publishers, Rudy Vecruysse, Ghent, pp. 167–180.
  • Layiwola Peju (2010) ‘Resurrecting the Disappeared: A Recontextualisation of 1897’, Benin 1897.com: Art and the Restitution Question, Eds. Peju Layiwola and Sola Olorunyomi, Wy Art Editions, Ibadan, pp. 1–12
  • Layiwola Peju (2009) Calabashes as Receptacles of Traditional Medicine and Repositories of Culture Amongst the Yoruba People Of Southwestern Nigeria.’ in A Textbook of Medicinal Plants In Nigeria, Ed. Tolu Odugbemi, University of Lagos Press, Lagos. Pp 81 – 92
  • Layiwola Peju (2009) New Forms of Commemoration; Royal Textiles of Benin, The Nigerian Field, Vol. 74, 1 and 2, Pp.5–19.
  • Layiwola, Peju and Biayere, Kunle (2007) 'The Politics of Memory in the Dramatic Space: Two Distant Views of Ovonramwen N’ogbaisi’ in Revisiting History Through the Arts, Ed. Peju Layiwola, National Gallery of Arts, Abuja, pp. 84–97.
  • Layiwola, Adepeju (2007) ‘Benin Massacre; Memories and Experiences’, Benin Kings and Rituals, Court Arts from Nigeria, Museum of Ethnology, Vienna (Museum fur Volkerkunde Wien), Museum Qua Branly (Paris), Ethnologishes Staatliche Museen zu Berlin and the Art Institute Chicago, Ed. Barbara Plankensteiner, Snoeck Publishers, Rudy Vecruysse, Ghent, pp. 83–90.
  • Layiwola Peju (2006) ‘Tangible Heritage in Nigeria, ‘Nigeria: Cultural and NaturalHeritage, A Unesco World Heritage publication, Ed. Rafael Valencia, Librose, Copernic, Viking, Barcelona, Spain. Pp. 280–305.
  • Layiwola, Peju (1997). ‘Gender Tempered Through Metal: Women in Bronze Casting in Benin, Nigeria’ in Writing African Women: Gender, Popular Culture and Literature in West Africa. Ed. Stephanie Newell, Zed Press, London. pp. 191–197.

Selected exhibitions
  • Artificial Facts and Boundary Objects, 20 June – 20 September 2015, Kunsthaus Dresden, Municipal Gallery of Arts, Dresden, Germany/Objectas Fontera at CA2M in Madrid, Spain 4 November 2015 to 28 February 2016; Group travelling exhibition:
  • Whose Centenary? Collaborative Public Art Project, Igun Street, Benin City, 6/7December 2014. Group public art performance and exhibition. Supported by the University of Lagos Research Grant
  • Benin1897.com: Art and the Restitution Question, a Solo Traveling Exhibition by Peju Layiwola, Lagos, 8 April-30 May 2010, Main Auditorium Gallery, University of Lagos/The Museum, Institute of African Studies, University of Ibadan, Nigeria. Ibadan, 20 August-10 October 2010
  • Joint show: Identities and Labels: Eight Contemporary Nigerian Women Artists, Pan African University Lagos, 24 September-8 October 2005
  • Of Bronzes and Prints: a Mother/Daughter Perspective: an Exhibition of Sculptures, Reliefs and Prints. Goethe Institute Lagos, Two-person exhibition by Princess Elizabeth Olowu and Peju Layiwola. 14–25 June 2003.
  • Solo Show: ‘The African Woman: An Exhibition of Bronze Sculptures,’ Flowerfield Arts Gallery, Portstewart, Northern Ireland, U.K, May 1996. Women, Art and Society: Queen's University of Belfast, Armagh Campus. N. Ireland, UK, September 1996.

Residencies
  • The Raw Residency, Rhodes University, Grahamstown, South Africa, 15 April- 15 June 2018.
  • Artist-in –Residence, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, Germany. 8 October-8 December 2017.

Works cited in
  • Tobenna Okwuosa (2017) Peju Layiwola's Art: An Engagement with Benin History and the 1897 Tragedy in The Art of Nigerian Women, Ben Bosah Books, USA. pp. 278–28.
  • Antawan Bryan (2014) ‘Peju Layiwola’, Art Cities of the Future: 21 st Century Avant-Gardes, Phaidon Press, London pp. 178–179.
  • Barbara Winston Blackmun (2013) Contemporary Contradictions: Bronzecasting in the Edo Kingdom of Benin’, A Companion to Modern African Art. First Edition, Eds. Gitti Salami and Monica Blackmun Visona, John Wiley Blackwell and Sons, Inc. pp. 389–407.
  • Freida High (2010) Benin1897.com: ‘Peju Layiwola’s Metamonument’, Benin 1897.com: Art and the Restitution Question, Eds. Peju Layiwola and Sola Olorunyomi, Wy Art Editions, Ibadan, pp. 1–12 pp15–40

Relevant interviews
gollark: They go into this.
gollark: Did you read the antimemetics division stories?
gollark: The first one.
gollark: > its just an antimemeticthing.It is *the* antimemeticthing.
gollark: SCP > society

References
  1. "Art Cities of the Future | Art | Phaidon Store". Phaidon. Retrieved 13 March 2019.
  2. "PEJU LAYIWOLA I create for women – The Nation Nigeria". The Nation Nigeria. 2 October 2016. Retrieved 11 November 2017.
  3. "An arts matriarch hits 50 – The Nation Nigeria". The Nation Nigeria. 27 December 2017. Retrieved 28 December 2017.
  4. "Celebrating two generations of art, artists – The Nation Nigeria". The Nation Nigeria. 17 January 2018. Retrieved 18 January 2018.
  5. Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.
  6. "Nigerian artists keep sculpture in the family". AFP. Retrieved 7 November 2016.
  7. "The Oba of Benin Kingdom: A history of the monarchy". MG Africa. 14 November 2016. Retrieved 11 November 2017.
  8. "Peju Layiwola heads LIMCAF 2016 grand jury panel – Vanguard News". Vanguard News. 23 October 2016. Retrieved 11 November 2017.
  9. Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.
  10. Editor, Online (2 December 2017). "A TOAST TO A RESILIENT ART AMAZON". THISDAYLIVE. Retrieved 26 December 2017.CS1 maint: extra text: authors list (link)
  11. "Walker and the Restitution of Two Benin Bronzes, By Peju Layiwola – Premium Times Nigeria". Premium Times Nigeria. 27 July 2014. Retrieved 11 November 2017.
  12. Dr., Kwame Opoku. "Modernity And Tradition: Peju Layiwola". Modern Ghana. Retrieved 11 November 2017.
This article is issued from Wikipedia. The text is licensed under Creative Commons - Attribution - Sharealike. Additional terms may apply for the media files.