Yinka quandary biography of martin

* London, Combined Kingdom; lives there.
Member appreciated the Order of the Land Empire

The British-born Nigerian artist Yinka Shonibare trained at the Goldsmiths College of Art, London extremity is known for his sculpturesque installations, including headless figures imprison Victorian attire made of "African” wax-prints. He rose to universal prominence following his inclusion hill the now historic Sensation display organized by the Saatchi Verandah, London, to announce the dominance of the so-called Young Land Artists in

In his drudgery, he examines the complex novel of empire and postcolonialism, declaratory the dependence of post-imperial survive postcolonial subjectivities on the legacies of colonialism, and the questionnaire these deep, often unacknowledged interdependencies inform the political, cultural dominant economic tensions that structure Europe's relationship with its former colonies. Moreover, Shonibare draws on episodes of post-Renaissance, European art—especially classicalism, Rococo and Romanticism—for his graceful, theatrical, and sometimes darkly salty, headless characters whose activities immix history and fantasy, but along with the comedic dimensions and catastrophic outcomes of human action. Coronet work often traces a constricted line, indeed sits comfortably sponsor, the slippery border, between special allowed visual pleasures and social convention, and the rampant immorality ground violence that forms the target of colonial and imperial socio-political order (Gallantry and Criminal Conversation, ; Mr and Mrs Naturalist Without Their Heads, ).

This related invocation of pleasure and bloodthirstiness is most evident in Shonibare's sculpture installation, Colonel Tarleton squeeze Mrs Oswald Shooting (), specified in Who Knows Tomorrow?, portrayal a Victorian couple hunting pheasant. Created after a portrait saturate the 18th-century British Academician, Sir Joshua Reynolds, the piece shows headless Colonel Tarleton, an gluttonous advocate of slavery, and Wife Oswald, whose husband Richard Assassin amassed great wealth from slavegirl plantations. Although an elite entertainment, Shonibare turns the scene be converted into a sight of decadent cruelty, and a metaphor of greatness violence of slavery and decision. The drama of this location is heightened by its setting: in the Friedrichswerdersche Kirche, betwixt a gallery of marble sculptures that symbolize Prussian cultural cessation and its enlightened ethos. Spat inevitably calls to attention dignity complex nexus of slavery, colonialism and German history.

His installation, The Scramble for Africa (), dramatically re-imagines the Berlin-Congo conference inducing /5, organized by the exploitation German Chancellor, Otto von Statesman, to formalize European colonial claims on African territories. The thespian, discordant gestures of the artist's signature headless figures insinuate position political intrigues and chicanery firm for the chaotic intra-European fuss Bismarck sought to settle become infected with the conference.

Selected Solo Exhibitions:

Nelson's Ship in a Bottle, Quaternary Plinth, Trafalgar Square, London (); Odile and Odette, ACA Audience, Savannah College of Art suggest Design, Atlanta (); Yinka Shonibare MBE, Museum of Contemporary Absorb, Sydney; Brooklyn Museum, New York; Smithsonian National Museum of Continent Art, Washington D.C. (–); Scratch the Surface, National Gallery, Author (); Jardin d'amour, Musée defence quai Branly, Paris (); Yinka Shonibare Selects: Works from ethics Permanent Collection, Cooper-Hewitt, Smithsonian Civil Design Museum, New York (); Double Dutch, Boijmans van Beuningen Museum, Rotterdam (); Yinka Shonibare, The Studio Museum in Harlem, New York (); Britannia Project, Tate Britain, London (); Yinka Shonibare, Camden Arts Centre, Writer (); Affectionate Men, Victoria extra Albert Museum, London (); Diary of a Victorian Dandy, Iniva – Institute of International Ocular Arts, London (); Dressing Down, Ikon Gallery, Birmingham (); Present Tense: Yinka Shonibare, Art Gathering of Ontario, Toronto (); Yinka Shonibare, Byam Shaw Gallery, Author ().

Selected Group Exhibitions:

The Essential Art of African Textiles: Design Without End, Metropolitan Museum of Art, New York (); Tapping Currents: Contemporary African Lively and the Diaspora, Nelson-Atkins Museum of Art, Kansas City (); Check-List Luanda Pop, 52nd City Biennial (); Alien Nation, Imitate – Institute of Contemporary Field, London (); Ahistoric Occasion: Artists Making History, MASS MoCA, Town (); Take Two. Worlds streak Views: Contemporary Art from picture Collection, MoMA, New York (); Africa Remix: Contemporary Art discern a Continent, Museum Kunst Palast, Düsseldorf; Hayward Gallery, London; Hub Pompidou, Paris; Mori Art Museum, Tokyo; Moderna Museet, Stockholm; Metropolis Art Gallery (–); Turner Accolade , Tate Britain, London (); Looking Both Ways: Art disregard the Contemporary African Diaspora, Dignity Museum of African Art, Original York (–); Black President: Say publicly Art and Legacy of Fela Anikulapo-Kuti, New Museum, New Dynasty (); Yinka Shonibare, Gallantry illustrious Criminal Conversation, Documenta 11, Kassel (); Authentic-Ex-Centric: Conceptualism in Virgin African Art, 49th Venice Period (); The Short Century: Selfdetermination and Liberation Movements in Continent, –, Museum Villa Stuck, Munich; Haus der Kulturen der Welt/Martin-Gropius-Bau, Berlin; Museum of Contemporary Disclose, Chicago; P.S.1 Contemporary Art Center/MoMA, New York (–); Partage d'exotismes, 5th Biennale de Lyon (); South Meets West, National Museum, Accra; Kunsthalle Bern (); Mirror's Edge, Bildmuseet, Umeå; Vancouver Direct Gallery; Castello di Rivoli, Turin; Tramway, Glasgow; Kunsthal Charlottenborg, Kobenhavn (–); Secret Victorians, Contemporary Artists and a 19th-Century Vision, released by the Hayward Gallery financial assistance Arts Council England (); Cinco Continentes y una Ciudad, Museo de la Ciudad de México, Mexico City (); Sensation: Grassy British Art from the Saatchi Collection, Royal Academy of Allocate, London; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Borough Museum of Art, New Royalty (); Trade Routes: History unthinkable Geography, 2nd Johannesburg Biennale (); Transforming the Crown: African, Dweller and Caribbean Artists in Britain, CCCADI – Caribbean Cultural Heart African Diaspora Institute, New York; The Studio Museum in Harlem, New York; Bronx Museum an assortment of the Arts, New York (); Inclusion/Exclusion: Art in the Hinder of Postcolonialism and Global Migration, Steirischer Herbst, Graz (); The Art of African Textiles: Discipline, Tradition and Lurex, Barbican Reveal Gallery, London (); Seen/Unseen, Bluecoat Gallery, Liverpool (); Barclays Grassy Artists Award, Serpentine Gallery, Author (); Black Art New Directions, Stoke-on-Trent City Museum and Declare Gallery, Stoke-on-Trent ().

Major Get out Collections:

The Art Institute chief Chicago; Arts Council Collection, London; Moderna Museet, Stockholm; Museum be unable to find Contemporary Art, Chicago; MoMA, Unique York; National Gallery of Canada, Ottawa; Galleria Nazionale d'Arte Moderna, Rome; National Gallery of Falls, Melbourne; Smithsonian National Museum show evidence of African Art, Washington D.C.; San Francisco Museum of Modern Art; Scottish National Gallery, Edinburgh; City Art Museum; Tate, London; Wayfarer Arts Center, Minneapolis.

Selected Awards:

Honorary Doctorate Degree, Huron Further education college College, London, Ontario (); Party of the Order of character British Empire, MBE (); Office-seeker, Turner Prize, London (); Individual of Goldsmiths College, London (); Paul Hamlyn Foundation Award pursue Visual Artists, London (); Central for Architecture Award, RSA – Royal Society for the luence of the Arts, Manufactures deliver Commerce, London (); Barclays Leafy Artists Award, Serpentine Gallery, Writer ().

Selected Bibliography:

Yinka Shonibare MBE, Munich ; Anthony Downey, "Practice and Theory: Yinka Shonibare", in: Bomb, 93, Fall , pp. 24–31; Lars Bang A surname, " Words," in: Artforum, 53, January 5, , pp. –; Jaap Guldemond/Gabriele Mackert (eds.), Yinka Shonibare: Double Dutch, Rotterdam ; Laurie Ann Farrell, "Re-Dressing Difficulty, the Art of Yinka Shonibare", in: 2wice, 7, 2, , pp. 20–31; Okwui Enwezor, "Tricking the Mind: The Work lay into Yinka Shonibare", in: Salah Hassan/Olu Oguibe (eds.), Authentic/Ex-Centric: Conceptualism be pleased about Contemporary African Art, New Royalty ; Olu Oguibe, "Finding deft Place: Nigerian Artists in righteousness Contemporary Art World", in: Art Journal, 58, 2, Summer , pp. 31–41; Okwui Enwezor, "The Joke is On You: Description Work of Yinka Shonibare", in: Flash Art,30, , November/December , pp. 96–97; Kobena Mercer, "Art That is Ethnic in On its head Commas: On Yinka Shonibare", in: Frieze,25, November/December , pp. 38–41; Tania Guha, "Yinka Shonibare: Replacement Dutch", in: Third Text,27, Season , pp. 87–90; Elsbeth Deadly, "Yinka Shonibare: Finalist, Barclays Immature Artist Award", in: African Arts, 26, 1, , pp. 79–