Committed to supporting emerging curatorial practice through residencies, workshops, and fellowships, the first residency at G.A.S. with curator Phokeng Setai is part of A4's intention to foster networks of dialogue and exchange between young curators on the continent.
Setai spent three weeks exploring Lagos’ cultural scene – along with a day trip to Ibadan – reflecting upon his research on scaffolding as a potential site of public art intervention in urban spaces. His interest lies in the historical, social, and aesthetic implications of these ubiquitous structures within the context of contemporary art. Each visit and interaction contributed to a deeper understanding of how scaffolding shapes built environments and social engagements.
The residency at G.A.S. provided an invaluable opportunity to explore the multifaceted concept of scaffolding within the urban landscape of Lagos. Each activity not only deepened my understanding of their physical structure but also their broader implications in social and cultural contexts. The interactions and reflections gained throughout this period will significantly inform my ongoing artistic and curatorial practice and the development of future projects that seek to engage with urban narratives and material culture.
– Phokeng Setai
Accompanied by G.A.S. Residency Manager Adekunle Adeboye, I visited the old Finance Ministry building in the CBD of Lagos, noted for its enduring scaffolding. I spent the morning documenting the building and its surrounding social economy, engaging with informal traders and observing the police presence. The juxtaposition of the historic building and the bustling street life highlighted the social layers surrounding scaffolding – serving as both a physical and metaphorical structure in the cityscape.
– Phokeng Setai on the old Finance Ministry building in Lagos CBD
Jazzhole is an independent rare book and record store, founded in the 1990s by Olakunle Tejuoso. Run by Tejuoso alongside his son Olakunle Junior, the small space is also an important cultural venue, hosting book launches, poetry readings, and live music events. It is widely considered an keystone of the Lagos art scene.
I visited Jazzhole and had a conversation with the owners about their book and record collection, and the role of the space in Lagos' cultural scene. The archival material provided historical context to my project, while its understated charm emphasised the importance of community spaces in fostering creative dialogue.
– Phokeng Setai on the Jazzhole
Setai explored the National Museum of Nigeria, one of the country’s oldest cultural institutes. The collection spans Nigeria’s pre- and post-colonial history, including Yoruba sculptures and textiles.
The rich cultural heritage showcased at the museum expanded my understanding of materiality, which I hope to integrate into the scaffolding project.
– Phokeng Setai on the National Museum of Nigeria
While in Ibadan, Setai visited New Culture Studios founded by artist, designer, and architect Demas Nwoko. The space was initially created in 1967 to hold his artistic practice but has grown into an art and design school which Nwoko describes as playing “a complementary role to formal tertiary institutions, and providing a place for practical and professional training.” Setai learned about the space’s history and continued relevance within the art world guided by the founder’s grandson, Rufus Nwoko. He also toured Demas Nwoko’s first major architectural design, a landmark Dominican Chapel.
These sites exemplified the role of architecture in cultural expression and deepened my appreciation for how space can influence artistic practice.
– Phokeng Setai on New Culture Studios and the Dominican Chapel, Ibadan
Other sites visited included:
• Centre for Black African Art and Civilisation (CBAAC)
• plan-B
• 16/16
• Lekki Art Market
• Nike Art Gallery
• Yemisi Shyllon Museum