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1922 Revisited | West Africa Edition Following its launch in Venice during the opening week of the 61st Venice Biennale, 1922 Revisited: Live Arts Program continues this November in Lagos, Nigeria. Conceived as an invitation to mine the fragmented archive of a 1922 exhibition of African sculpture at the Venice Biennale, 1922 Revisited brings together contemporary artists from Africa and its diaspora to poetically confront the imperial logics embedded in this history, amplify long-silenced voices, and propose new frameworks grounded in African epistemologies. The Venice program centered on a special exhibition of thirty-three so-called traditional sculptures presented at the Biennale in 1922. Extending this discourse beyond the Biennale and its archive, the West African edition turns to the larger histories of extraction, collection, and exhibition, along with the enduring legacies of colonialism, while exploring the possibilities of performance to challenge dominant imperial narratives and imagine new collective futures. The Lagos program is presented by @thirdspaceartfoundation in partnership with @ccalagos. Additional program partners include @aavforum @ecc_italy @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @theafricacenter Stay tuned for further details on the West African edition, beginning in Lagos this November! Full program details → www.thirdspaceartfoundation.org
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Elaine Sullivan, Assistant Professor of African Art History, attended the preview week of this year’s Venice Biennale, where she ran into Marguerite Lenius (PhD ‘14) and Janine Sytsma (PhD ‘21). Janine, now Associate Professor of Art History at the University of Arkansas, organized “1922 Revisited,” a live arts program responding to the fragmented archive of the 1922 exhibition of African sculpture at that year’s Venice Biennale. Marguerite, now assistant professor of art history at Middlebury College, was on hand to help with production and step in as a last-minute performer! #arthistory #uwhumanities #uwmadisonarthistory #uwmadisonls #uwmadison
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[Artistes de l’édition « Beauté(s) » | Victoria-Idongesit Udondian] 📍Musée d’art Roger-Quilliot 🗓️ 01/07/2026 - 10/01/2027 🥂 Vernissage le 1er juillet 2026, 18h30 Asase Ye Duru [La Terre est lourde] est une œuvre imaginée et créée par Victoria-Indogesit Udondian, dans le cadre de la Biennale textile. L’installation sera à découvrir dans l’atrium du musée d’art Roger-Quilliot, Montferrand, et a été réalisée avec de nombreux acteurs clermontois. À partir de textiles collectés et triés, l’artiste Victoria Idongesit Udondian développe une œuvre textile collective qui interroge la surconsommation vestimentaire en Europe et ses conséquences à l’échelle mondiale. Réalisée dans un premier temps à Accra, au Ghana, l’oeuvre se réalise également à Clermont-Ferrand avec le soutien de la DRAC AuRA, de Clermont Auvergne Métropole, de la Ville de Clermont-Ferrand, du Valtom, du CHU Estaing, et de la Blanchisserie interhospitalière, et grâce à la participation d’élèves des collèges Jeanne d’Arc, La Salle Franc Rosier, le CeCler, d’Unicité et du Secours Populaire. Proposant une cartographie de l’enchevêtrement mondial, Asase Ye Duru assemble des vêtements blancs en surfaces tissées, certaines créées à Kantamanto, d’autres dans le cadre d’ateliers à Clermont-Ferrand. En associant ces matières et ces lieux, l’installation relie des zones de surconsommation à celles qui sont chargées de supporter le poids de ses leurs excès. L’œuvre, dans son essence, appelle un tournant épistémique. Née en 1982 à Lagos (Nigéria), vit et travaille entre Lagos et New-York (États-Unis) Le travail de Victoria-Idongesit Udondian est motivé par son intérêt pour les textiles, les vêtements et leur potentiel à façonner la perception qu’une personne a de son identité. L’artiste s’inspire de l’histoire et des significations tacites inhérentes aux matériaux du quotidien. Elle crée des œuvres qui remettent en question les notions d’identité culturelle et les positions postcoloniales, en relation avec son expérience de vie au Nigeria. Son travail combine l’utilisation de divers modes de fabrication traditionnels, notamment le tissage, la couture, la teinture et parfois les médias numériques..
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What does a School of Art education look like? This summer, for Dr. Janine Sytsma and four graduate students, it looked like Venice, Italy. 🇮🇹 🎨 Graduate students Michelle Kamanga, Delaney Rumsey, Elise Boulanger, and Bolu Ezra Ikuemonisan joined Dr. Sytsma in Venice, Italy for the launch of "1922 Revisited: Live Arts Program" during the opening week of the 61st Venice Biennale. Curated by Dr. Sytsma and produced by Cynthia Post Hunt (Curatorial Producer and Curator of Performance and Artists-in-Residence at the Momentary), the program brought together artists from Nigeria, Italy, Ghana, the United States, Cameroon, France, and Ethiopia to revisit and reimagine the Biennale's 1922 exhibition of African sculpture — restoring the cultural context stripped from those works at the time. Recently featured in the New York Times, the program's processionals, multidisciplinary performances, and panels transformed Venice into a site of embodied memory, inviting audiences into new ways of knowing rooted in African epistemologies. Featured artists included Tsedaye Makonnen, Jermay Michael Gabriel, Zora Snake, Bernard Akoi-Jackson, ruby onyinyechi amanze, Wura-Natasha Ogunji, Victoria Udondian, Wilfried Nakeu, among others. Hosted by Third Space Art Foundation in collaboration with the African Art in Venice Forum and the European Cultural Centre — with partners including The Africa Center, New York; the Centre for Contemporary Art, Lagos, Nigeria; the Foundation for Contemporary Art, Accra, Ghana; the Art History Program, School of Art, University of Arkansas; and NEWMEDIA. We're so proud of Dr. Sytsma for this impactful work, and to facilitate an unparalleled experience of networking and global arts engagement for our emerging scholars at SoA! 📷 Credits to Bolu Ezra Ikuemonisan, Francesca Bottazzin, Kwame Aidoo @uarkansas @uarkfulbright @uark.arthistory @janinesytsma @labiennale #uark #uarkart #labiennale
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✨✨✨✨1922 Revisited: Live Arts Program in 20 pictures! ✨✨✨✨ Including from: Openings and Meanderings: Supplications for More Accessible Futures by @benjoonam in the stead of @jeliliatiku The Dash by @wuraogunji and @ruby_onyinyechi_draws ESCAPE THE BOXES by @wilfriednakeu and @zorasnake Waves of Ash: Navigating Liminal Waters and the Unfinished Archive (Screening and Panel) with @astoldbytsige @tsedaye @jermay.michael.gabriel_studio and @justinrandolphthompson Kayeyei: Archive embodied by @vickolors with @benjoonam Waves of Ash by @tsedaye and @jermay.michael.gabriel_studio Untitled: Flaggings IN MEMORIAM in the BLUES on some CUES and when WAX ain’t so LOST (a sketchy score for some processional gestures and an eventual celebratory discussion) by @benjoonam The closing reception with the Gold-in-the-Lion award ceremony with @vickolors and @benjoonam And much more! Presented by @thirdspaceartfoundation In collaboration with @ecc_italy and @aavf Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Additional Team Members: @jillwein @k.a.y.michelle @delaneyrumsey @liluhlise @boluikuemonisan Program Partners: @ccalagos @theafricacenter @NEWMEDIA @fca_ghana @uark.arthistory @uarkart 📷: @francescabottazzin_ph @lordkubolsstudio @kwamewrite @chrisbaiden__ Follow for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922Revisited #VeniceBiennale
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1922 Revisited: Live Arts Program Untitled: Flaggings IN MEMORIAM in the BLUES on some CUES and when WAX ain’t so LOST (a sketchy score for some processional gestures and an eventual celebratory discussion) Bernard Akoi-Jackson Saturday, May 9 The work unfolds as a series of performative interventions manifest as processional gestures, fictive liturgical invocations, leading eventually to a day of collective re-membering (a gathering). These actions hinge tangentially on observations made from the contemporary public sphere, but are also somehow inspired by visual, textual, and gestural vocabularies culled from a variety of sources. Some of the registers may be recognized as codified vestiges from antiquity, whilst others also emerge spontaneously from present experience(s). The entire experience comprises the employment of strategies of communal/participatory activation of shared public and private spaces. The interventions present over three seasons or sessions: a libation-[al] season involves the pseudo-ritual preparation and cleansing of sites identified and designated for the hoisting of flags and standards; a habit-[ual] season refers to the actual hoisting of flags and indigo-dyed standards at the designated sites; an agyina[-al] season where a collective remembering is acknowledged through discussion and the invocation of an almost eucharistic finale. Presented by @thirdspaceartfoundation In collaboration with @ecc_italy and @aavf Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program Partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 📷: @francescabottazzin_ph and @kwamewrite Follow for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922Revisited #VeniceBiennale @benjoonam @blaxtarlines
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1922 Revisited: Live Arts Program Waves of Ash Tsedaye Makonnen and Jermay Michael Gabriel Thursday, May 7 Waves of Ash links Tsedaye Makonnen’s and Jermay Michael Gabriel’s artistic practices, migration, the archive of memory, and the deviation of Western epistemology. Their work takes the form of an installation composed of burned wood and textiles. Engaged in the collection of objects such as pieces of wood found in the lagoon and presented in the form of a conical structure, the act of burning, understood as both destruction and transformation, raises a fundamental question for Western epistemology: to what extent are we willing to accept history as it is transmitted to us, without exercising a critical gaze? Tsedaye’s blue textiles bring the discourse of the lagoon/sea back to the center as a liminal space of passage and stratified memory: a site where the Mediterranean and the Atlantic symbolically converge, evoking the history of Black, African, and Afro-descendant peoples, marked by migration, forced crossings, and suppressed narratives. The work ultimately converges on a single question: should history be destroyed or preserved? Or rather, should it be approached from a critical perspective, deconstructed, and rewritten from its margins? Presented by @thirdspaceartfoundation In collaboration with @ecc_italy and @aavf Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program Partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 📷: @francescabottazzin_ph and @lordkubolsstudio Follow for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922Revisited #VeniceBiennale @tsedaye @jermay.michael.gabriel_studio
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Wonderful to see this week’s recognition for the African Art in Venice Forum and the expanding international dialogue around contemporary African art. Congrats to @aavforum, @topalsal , @nerigram, @azzasatti, @kddumouchelle, @katherinenealfellens! The work being done by artists, curators, collectors, institutions, and cultural organizers across Venice and beyond continues to reshape how these practices are being engaged globally, and it is incredibly rewarding to see so many friends, collaborators, and longtime supporters of the field reflected in that momentum. It also feels especially meaningful alongside the remarkable exhibition currently on view at the Smithsonian National Museum of African Art, which brings together a dynamic group of artists including Marc Standing (@marcstanding) and Athi-Patra Ruga (@athipatra), among many others whose work we have long admired, championed, and been fortunate to support through exhibitions, placements, and ongoing conversations over the years. A powerful reminder that the ecosystem surrounding contemporary African art today is being built collectively — across museums, biennials, residencies, galleries, artists, patrons, and communities — and that its influence continues to deepen internationally.
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1922 Revisited: Live Arts Program Presented by @thirdspaceartfoundation In collaboration with @ecc_italy and @aavf Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 Thursday, May 7 Kayeyei: Archive embodied Victoria-Idongesit Udondian with Bernard Akoi-Jackson and the debut of Edikan Lo Verde Kayeyei: Archive embodied is a durational performance in which bodies become living repositories of history, labor, and global circulation. Performers continuously layer secondhand garments onto themselves, inspecting, tagging, and wearing each piece as if cataloguing an archive. As the layers accumulate, movement becomes restricted, identities obscured, and the body strained under the weight of material histories embedded in the clothes. 📷: @francescabottazzin_ph Follow for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922Revisited #VeniceBiennale @vickolors @benjoonam
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1922 Revisited: Live Arts Program Presented by @thirdspaceartfoundation In collaboration with @aavf and @ecc_italy Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 Wednesday, May 6 ESCAPE THE BOXES Zora Snake and Wilfried Nakeu Zora Snake and Wilfried Nakeu draw on the subversive narrative of 1922 Revisited to propose a performative trio involving a visual artist, a choreographer, and audience participation within a transformed space, where silence awakens the stories obscured by the hierarchical display of artworks. The performative act reimagines a reclaiming of original memories that have been stripped of their authentic function. For the artists this becomes a way to recontextualize the sacredness of works connected to the living, in relation to perspectives of repair and healing from the “fragments of history.” 📷: @lordkubolsstudio Follow for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922revisited #VeniceBiennale @zorasnake @wilfriednakeu
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1922 Revisited: Live Arts Program Presented by @thirdspaceartfoundation In collaboration with @aavf and @ecc_italy Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 Wednesday, May 6 The Dash Wura-Natasha Ogunji and ruby onyinyechi amanze The Dash is a performance of two runners who race in slow motion for exactly one hour. The performance may be staged within an interior or exterior space: the fixed space of a room; an open plaza; tight city corridors; or from a start line to the finish. The spectators play an important role in this staged competition. As vocal timekeepers, they collectively signal the start time, the half-way mark, and crossing of the finish line. In their embodiment of restraint and reverberation, collectivity and calm, the performers incorporate facial expressions, hand signals and other gestures as critical choreography and necessary glitch. This movement-language references and riffs from the archive and research of the African sculptures of the 1922 Venice Biennale; track and field competitions; and the languages of drawing shared by amanze and Ogunji. The title of the performance–with its multiple meanings–offers an additional layer of poetic possibility to this endeavor. A dash is a quick run, a punctuation mark, and in Nigeria, a gift, or a bribe. Turning to the grammatical dash, the race could be conceptualized as break or interruption. Inviting separation from the usual rushing of time, the performance might also be read as the belaboured writing of a long run-on sentence. 📷: @francescabottazzin_ph Follow @thirdspaceartfoundation for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922revisited #venicebiennale @wuraogunji @ruby_onyinyechi_draws
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1922 Revisited: Live Arts Program Presented by @thirdspaceartfoundation In collaboration with @aavf and @ecc_italy Program Curator: @janinesytsma Curatorial Producer: @lehuntnouveau Program partners: @fca_ghana @NEWMEDIA @uarkart @uark.arthistory @ccalagos @theafricacenter Venice Biennale | May 5–9 Wednesday, May 6 Screening and Panel Discussion Waves of Ash: Navigating Liminal Waters and the Unfinished Archive Tsige Tafesse moderates a conversation with Tsedaye Makonnen and Jermay Michael Gabriel Cappellin on Waves of Ash. Together they consider burning as both destruction and transformation, and what it means to reread transmitted history through a critical gaze across layered memory and forced crossings. 📷: @francescabottazzin_ph @lordkubolsstudio Follow @thirdspaceartfoundation for more reflections on 1922 Revisited and announcements about future programs Additional information on the foundation and programs → www.thirdspaceartfoundation.org #1922revisited #venicebiennale
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