hannah remz curation
Curations
SOTO Gallery
I consulted for SOTO Gallery for their international exhibitions and art fairs for both logistics and curation.
World Ecomomic Forum
January 2024
For the World Economic Forum in Davos, Switzerland, Nigeria's Ministry of Creative Economy put on a cultural event that showcased different aspects of Nigerian Culture. I was part of the team that was behind the Modern and Contemporary Nigerian Art showing of the event
1-54 Art Fair London
October 2024
I applied on behalf of the gallery to 1-54 art fair and organised all the logistics of the booth for SOTO gallery. We exhibited Uche Uzorka and Johnson Uwadinma at the art fair
Art SG Art Fair
January2025
I curated and applied successfully for the gallery to participate in Art SG Art Fair in Singapore in January 2025. Exhibiting artists were Johnson Uwadinma and Uche Uzorka
Arthouse Contemporary
1 / Frieze Masters & Frieze Sculpture | October 2022
Frieze Sculpture in London's Regent's Park where we presented four large scale sculptures by Peju Alatise; and Frieze Masters (also in Regent's Park) where we presented batik, beadworks, adire and embroidery of the great Mummy Nike Davies-Okundaye
2 / Armory | September 2022
The Armory Show in Chelsea New York where we presented installations by Nnenna Okore and Ozioma Onuzulike of the Nsukka School.
3 / Arthouse Contemporary | June 2022
I'm glad to have put on this show at Kia Motors Nigeria because the space lends itself to a show of this magnitude, 86 works to be exact. With the highlights such as: Ben Enwonwu; Africa Dances and of Oluwole Omofemi.
Gallery At The Landmark
I was the resident Curator of Gallery At The Landmark. Please find below the Curator's Notes from the exhibitions I planned and sourced Artists for along with Sales and Branding.
In My Father's House
May 2021
Gallery at the Landmark (GAT LDMK) its held its Grand Opening on the 1st May 2021 with a solo exhibition by Isaac Emokpae titled “In My Father’s House”. The gallery started with a bang with the renowned works of the son of Master Artist Erhabor Emokpae. A second generation artist that grew up around the extraordinary could not help but share his view of the world through an artist’s eyes. He is bursting with wisdom and knowledge that could only come at looking at the world differently and being all immersed in an outside the box creative home. The influence of his father is palpable.
GAT LDMK unveiled its wonders to the metropolitan viewers who may not necessarily have a knowledge of art yet will take away the basic principle of the apple doesn’t fall too far from the tree. What one is exposed to dictates the output, the input of visual expression, observation, creative philosophy and inquisitiveness all are present in “In my Father’s House”. The layman can take away these themes and even relate to them, you don’t have to be an art enthusiast to envision that charity begins at home and you learn life’s biggest lessons about how to view the world from the comfort of your own home.
Yeux Amusés
June 2021
A salacious selection of pieces by Isaac Emokpae aptly tagged “Yeux Amusés.”
This collection, boasting a series of paintings and sculptures, is an attempt to explore lived experiences with regards to the Benin and Yoruba culture. A collection of works dating from 2017-2020. The works include a series on Leopards called Ekpen: Symbolism for the elusive cat is rife in West African culture, specifically the Edo and Yoruba tribes where the leopard is deified for its tenacity, cunning, ruthlessness and love for privacy.
In this Exhibition, Emokpae draws inspiration from the various forms and brilliant design that fans traditionally exude. The title of the series is “EZUZU” - the Edo word for hand fan.
Another collection shown in “Yeux Amusés” is the Embrace series emblazoned on Aso Oke. Emokpae uses the Embrace series to communicate the message of duality. Duality built through the completeness of the relationship that exists between a man and a woman.
On Display
October 2021
Emotions
December 2021
I Will Not Be Lost
August 2021
“I Will Not Be Lost” is a motivational and directional pursuit by Ighiwiyisi Jacobs. This unearthing of her soul and life through ordinary experiences that anyone can relate to will let everyone that views her artwork take positive reinforcement from her influences and pathway from being omnific not from birth but through a lightning strike and rush of flood of artistic flair, calling and ability. Ighiwiyisi Jacobs, despite being the daughter of prolific artist Erhabor Emokpae, found her artistic touch later in life all on one particular date, 8th of August 2018 (exactly three years ago to the day of this exhibition), when she was given a faculty from none other than the Omnificent Creator himself through an impossible shift in talent that couldn’t have been by accident. She has honed and perfected her artistic endowment through several set design projects that she had exacted by herself in excruciating detail and meticulous use of form and colour in her capacity of Director of the Hermosa Design Company. This in turn led to her following in the footsteps of her father and artistic family by founding Gallery at the Landmark.
The impartation of the faculty of artistic prevalence in her life led to the effect of the gallery and led to the importance of sharing the artistic dialogue of artists in the environment of Africa that like her have yet to unearth their talent, yet through honing of gifts and unsolicited genius can be brought to light by creating dialogues for people to really self reflect and figure out who they are by looking outside of themselves through the medium of art.
The artworks in this exhibition will motivate those who view it to look at the singular and microcosmic experiences of Ighiwiyisi Jacobs, who has inspired many through her prayers and her emotive public speaking, with an all encompassing vigour for reaching towards hope and persevering through all manor of life’s obstacles.
Manifesting the name given to her by her father, Ighiwiyisi means “I will not be lost in a foreign land”. Therefore, the loss of her father at such a young age did not leave her adrift, she was able to live in his formidable shadow and live up to his name by travelling the world and gaining influences while finding her way and eventually thriving in her prospective fields of visual merchandising. Taking from those alluring and enticing influences of consumerism in her travels she wishes to bring product and spatial awareness to the market in Nigeria where the current thrill of advertising is more like touting and nagging rather than thoughtful and arresting irresistible merchandising in display and spatial interior design.
The Awakening
January 2022
AFRICAN POWER
One thing that is often misread about Africa is the Power it has wielded through its dynasties. Empires were born and fell yet what we are left with is connotations that do not reflect the majesty of the culture. The Benin Kingdom (1240-1897) (Nigeria), The Kong Empire (1710-1898) (Cote D’Ivoire), The Ashanti Empire (1701- 1894) (Ghana), The Bamama Empire (1712-1896) (Mali), are just few of the extant pre- colonial histories of Power in Africa.
TRANSMITTING CULTURE
There is power in culture, what is left of the kingdoms has been heavily documented but not by Africans themselves. If literature remains extant for the future but is not indigenous, what must remain Afrocentric is the culture. Richness of the intonation of languages and traditions from adages and folklore show that Africans teach in creative ways. Much has been lost due to indoctrination in Africa. The problem with African culture is that oral tradition is it's means of dissemination, this is the ultimate loss of culture, yet there is a wealth of visual history on the continent. Artisans propagate folklore and history for the monarchy.
RICHNESS OF THE CONTINENT
Infinite resources such as gold, oil and commodities were best wielded during these empires, yet contemporarily the wealth of Africa remains untapped. Due to the empires' military prowess, wealth, architecture, sophisticated hierarchy and culture, we hope to recover the richness of these empires and their reverberations that have been lost.
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The inaugural ON DISPLAY featured the following artists: Gbemileke Adekunle, Dotun Popoola, Samuel Nnorom, Uzor Ugoala, Adeola Balogun, Ganiu Ismail Opeyemi, Shalom Barnabas Toheeb Ibrahim, Korede Ojelade, Stephanie Unaeze, Ibim Cookey, Innocent Chikezie, Oyekale Segun, Soji Akinbo, Tofo Bardi, Christopher Samuel Idowu, Vittu Samuel, Michael Enechi
Art is always an extension and expression of the Artist and their emotions. It can be a way to examine the mental state and reflect in order to grow. Everyone has a mixed melting pot of emotions at any given moment but without looking within and processing it can be difficult to grow. This exhibition is to draw a parallel between art and emotions because without one the other does not exist.
Having been let go from his role in banking due to the pandemic, Toby Emmanuel dealt with a plethora of emotions as many did during this time. He believed that the pandemic has brought out so much creativity and has done so much for Africans. His Picasso-esque renditions are colorful and expressive with recognisable motifs. He believes that we should use any way we can to believe in ourselves and work through tough emotions, one such way is art.
His drawings have augmented reality and show his multidisciplinary talents. You scan the painting with your phone as you would with a QR code and it takes you to a virtual reality.
Imagery in the artwork exemplifies his africanness, with tribal marks that signify his own imaginary tribe on most of the faces that is taken from the tri fold lines that comprise his logo for his brand: TEDA enterprises. His works are not just artworks, his style compartmentalizes his brand.
In this exhibition, the brownish colors and the augmented reality drawings in the main room show the melancholic emotions of the artist, yet when you enter the metaverse and scan the drawings the dullness is eradicated. You can see that with time he added more color to his experiences. The drawings were created in 2018 and the virtual reality was a retrospective enterprise.
Toby Emmanuel hopes with this exhibition that those that view his work will see that anyone can be an artist and anyone can use art to retrospectively or prospectively work through their emotions.
Kesa Babatunde is a sage painter with peace, calm and wisdom at the centre of his practice.
Arise from your stupor
"The Awakening" by Kesa Babatunde is a commentary on how most people go through life asleep. A term used to describe the opposite of the self imposed zombie like existence of many is the word "woke". Kesa wants to make you open your eyes through his works.
Tranquility reigns
A reccuring theme in Kesa Babatunde's works in this exhibition is the idea that calm introspection and communion with God are the building blocks of a measured and inevitably successful life. The white noise and hustle and bustle of Nigeria can warrant the default reaction to be to add to the noise rather than finding epiphany in meditation and prayer.
Experience over quick fix
With 15 years of practice under his belt, Kesa Babatunde has the experience to know that there is no right time. We often pass over opportunities because we take into consideration the aspect of time.
His paintings " Timeline 1 & 2" aptly capture the fact that we often miss out when we pay attention to time. One may have achieved a lot in the first quarter century of their lives, yet someone else may not achieve success till later in life. According to Kesa Babatunde, life is step by step and it all stems from God.
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Vivid Vignettes
February 2021
What links these three artists is their critique of society in such a way that they have created a Vivid Vignette of what it is like to live in contemporaneous Africa.
The first definition of a Vignette is something that is a visual (or otherwise) brief evocative description, account or episode. The artists, Dennis Onofua, Obinna Makata and Busayo Lawal, in this exhibition, have all taken different reference points and brought to life depictions of their experience. But collectively they are commenting on society. Their brief episodes as evocatively described cover topics such as consumerism, religion, socializing norms, lack of evolution in Nigeria, and migration. Yet every artist has experienced this from their own existence, it becomes a macrocosm and commentary of society.
The second definition of Vignette is a small illustration which fades into its background without a definite border. The observations of these artists are so focused and distinct yet the implications of the description knows no bounds. They effectively are showing little snippets of information that can represent the greater mass of people and their experiences.
In this exhibition we see a representation of society illuminated through miniature descriptions of lived experience in skilled and complex rendition by Busayo Lawal, Obinna Makata and Dennis Onofua.
Transcending
April 2021
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Motif Foulard
February 2021
Curator's Note: Motif Foulard means "scarf motif" in French. Scarves are square or rectangle pieces of fabric often made from silk. The beauty of a scarf is in it's intrinsic design. When one wears a scarf, one is essentially donning a wearable piece of art that is the epitome of design.
This design ethos is where the two artists in focus for this exhibition, Kaithya H. and Wande George pay homage to scarf motifs.
Their art is reminiscent of some of the designs seen on wearable art such as Hermés Carrés. Large silk squares carefully created to exude beauty and excellence in craftsmanship.
It must be said that these works of art are not actually scarves or to be worn as scarves but are artworks proper (although Kaithya H.'s works are indeed made out of silk canvas). The theme of the curation came from an appreciation of scarves and their versatility for design and motif.
Just as a scarf is a form of luxury to adorn the elite, art is also a luxury that is to be enjoyed by all. Not just those who purchase it but also by those who appreciate it in the confines of a gallery.
Appreciation for craftsmanship and design is at the crux of this exhibition. In the landscapes and almost Japanese calligraphy paintings of Kaithya H. and in the cubism and minimalism of Wande George. These are motifs that have been explored in the luxury and lavish creations that have donned the iconic Hermès ouvre.
This exhibition is for the art lover and also for the fashion lover. The intersection of the themes, genres and design motifs is unmistakable. This exhibition is an Homage to wearable art and art that is reminiscent of the flowing tresses of fabric.
Ufuoma Onobrakpeya:
A Retrospective
March 2021
Excerpts from the Curator's Note
"Ufuoma Onobrakpeya is a proponent of a strong legacy. A third generation artist that the baton has been passed on to and swiftly has taken the art that Bruce Onobrakpeya pioneered to new destinations and heights at a high speed. His grandfather Obi Omonedo Onobrakpeya started the race, passed on the proficiency for arts to his son Sir Bruce who then paved a way for what has been a stellar art career for Ufuoma Onobrakpeya. The Onobrakpeya’s hail from Agbaroh Toh in Delta State, a strong cultural influence in his paintings. The propelling of culture and family is at the centre of his ethos, no matter the medium that he puts his hand to. The various mediums he has honed and mastered span from acrylic and oil (the traditional mediums) to lino engravings and prints, metal foils, ivorexes and coral and silver (mediums that his father invented, propelled and passed on during the 20 years that Ufuoma Onobrakpeya understudied him)"
"It is also very special that included in this exhibition are paintings that were featured in his solo exhibition at the British Council inaugural exhibition to celebrate the opening of their doors in Nigeria. The lino engravings and prints of the landmarks and modes of transport in London come from the observations and travels of Onobrakpeya in London. During his master’s degree in art in graduating with honours at the Camberwell College of Art, University of London, he was in great company with other notable alumni of the school such as Ben Osawe. The paintings are reminiscent of the heart and soul of London and would add to the connection between Nigeria and Britain due to the colonial history. Paying homage to both Nigeria and Britain, Onobrakpeya is adding to the canon and contributing to history and immortalising the culture of both realms."
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Rumination
April 2021
A fashion sustainability exhibition by Nneji Akunne, born and raised in America and has 10 years of experience in Marketing, Communications and Business Management.
Nneji Akunne led communications for H&M Germany in order to facilitate and draw attention to the shortfalls in sustainability in Fast Fashion.
This exhibition includes upcycled fashion, sculptures and textile art in a revolutionary and effective way to draw attention to the issues that are pertinent in fashion. From the underpayment of artisans to the waste and lack of environmental concern to the fact that most fashion houses get their materials from Nigeria and then sell it on while those materials ought to be championed by indigens and appreciated locally as well as internationally with true credits given.
The exhibition TRANCENDING runs from the 9th April to the 15th of April
Artists have mastered the art of rumination since time immemorial. Everyone faces tough times, we often don’t like to use the word depression on this continent, but when hardships come the best way to deal with it is to look within. That is where soul searching and rumination comes in. Art is a form of therapy.
Another thing that comes with rumination and inward introspection is patience, solitude and perseverance. These are qualities that are paramount to artistic creation. Ben Onouorah has a series titled “Soul Searcher” that involves him looking at different cultural and societal attributes from his perspective, dealing with soulful and spiritual explanations to the unknown phenomena that he is faced with in his melancholy.
Osimeh Godstand has a series titled “Red Scarf Series” that deals with the struggle he had from growing up an orphan. He turns his pain and solitude into a passion and turns to the canvas in order to deal with his feelings of abandonment. He imagines his mother and the scarf that has cloaked her identity from him. He also turns to poetry and prose and addresses it to his mother as a way to find his beloved. This shows that Rumination and thought goes hand in hand with creativity. He effectively brought himself out of a dark place through his expression.
In this exhibition, these two artists: Osimeh Godstand and Ben Onouorah show that to look within, soul search and ruminate are the basis for creation. This is what artists draw from and is a creative well that will never run dry because life brings many shortfalls, you can either let it fell one or you can turn the pain into something beautiful.
These Resent Times
Milìkí
October 2021
"These Resent Times" by Chinyere Akachukwu, a lawyer by profession and artist at heart, was a lovely exhibition that spoke on pertinent issues faced by Nigerians. Glad to have been able to help my friend to exhibit her heart to the world no matter how contentious it would be to talk on issues such as ENDSARS, the mass exodus from Nigeria to Canada, to the repeated kidnappings of children, the incoherent coexistence of fulani herdsmen and farmers and the presidential speeches that led to the banning of twitter. She did so in such a nuanced manner from dead tweety birds at the toll gate to the Little Green Riding Hood Series that spoke on unaccompanied children finding their way to school.
Perspectives from Within. Òlàjú Art Group.
San Antonio, Texas, USA, February 2020
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Perspectives from Within (PFW) is an identity-based, contemporary African art exhibition that explores the multifaceted nature of critical issues being addressed by a group of emerging photographers based on the African continent. The exhibition brings individuality to the forefront through dynamic and reflective photography that looks within the psyche of an African living on the continent. The exhibition will explore what it means to be an African today exclusively by and for Africans themselves in order to spread their autonomous viewpoints to the greater public.
The central thesis of the exhibition is that in order for the negative, stereotypical portrayal of Africans in our society to change, we as Africans must reflect and come to understand ourselves individually and collectively, then work to reconstruct our own narratives for a better future. The exhibition is loosely based on concepts drawing from “individual vs collective identities” which is a thread that undergirds the project. Bringing personal viewpoints as a microcosm of the collective experience, this exhibition will expand on common and pertinent topics that face all of humankind, not just Africans and bring more relatability to the African experience.
The exhibition thesis and conceptual framework is supported by the work of eight featured artists which are divided across three themes:
1. Individual Identity
2. Shared Communities
3. Reimagined Futures
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The Masters Exhibition, Mydrim Gallery
Lagos, Nigeria, May 2018
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To celebrate the 25th anniversary of Mydrim Gallery, 10 Master artists were put on show at Desiderata in Banana Island: Jimoh Akolo, El Anatsui, Abayomi Barber, Jimoh Buraimoh, David Dale, Nike Davies- Okundaye, Bisi Fakeye, Yusuf Grillo, Gani Odutokun, Bruce Onobrakpeya, Kolade Oshinowo and Muraina Oyelami. Artists that have put decades of work into perfecting their craft and are worth tens of millions of naira. The exhibition was opened by the Vice President of Nigeria at the time Yemi Osinbajo.
Terra Kulture Mydrim Gallery Auction House
Lagos, Nigeria, July 2018
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Hannah Oghene was co- curator for Terra Kulture Mydrim Gallery's 9th annual auction in 2018 with carefully curated and exquisite art pieces that celebrate our heritage. Selected pieces from West Africa's notable artists went up for auction.
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Shards of Time
Lagos, Nigeria, June 2018
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Shards of Time took place at the National Museum of Nigeria with artworks by Dipo Doherty. The exhibition culminates his six years of artistic practice which is especially laudable considering his move from mechanical Engineering to self-didactic painting. He has forged his own style and worked the Lagos Art circuit and this exhibition was a milestone for his journey marking his evolution and sending him off before he embarks upon a Maters at MIT in the USA.
His style has evolved since he began his career and took on a residency at Arthouse Contemporary showing a deeper complexity to his paintings with more textures and motifs creating the backdrop for his signature lined and distorted figures. He also tackles some deeper concepts in these works from the flailing education system in Nigeria to the trade relationship between China and Nigeria to the societal pyramid system in Nigeria.
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Carnet de Voyage Traveller's Notebook Exhibition
Lagos, Nigeria May 2018
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Carnet de voyage took place at Omenka Gallery. Michel Puchercos, former CEO of Lafarge Africa PLC and current Global CEO of Dangote Cement PLC is a Frenchman with an arresting and discerning eye in photography, during his time in two vibrant countries, Nigeria and Kenya, ventured to capture the colours that bring to life the essence of Africa and an emotion that he saw in the people. The emotions of people that range from joy to bliss but never melancholy or despondency. Colours that contrast with the darkness of some of the living conditions and daily struggles of some of those that reside in these countries.
His photography succeeds at taking the viewer through all the senses that were aroused in the moment that the shutter of the camera was closed. He captures the feeling of having your breath taken away by the magnitude of nature and the humility of humanity. The exhibition was sold out and all proceeds were donated to Casa Alba.
Casa Alba is an organisation that works to enrich the lives of struggling young girls whom the world has forsaken. The organisation focuses on women who can fare harder than men when they are in dire straits. Young girls leave their villages and move to the city to find livelihoods to support their families. Casa Alba gives these youth the hand of help that they do not find in their immediate environment.
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Regimes of Truth: Rituals and Performance. Lagos Photo.
Lagos, Nigeria, November 2017
"Regimes of Truth" examines the search for and the presentation of truth in contemporary society by drawing on inspiration from the works of nineteenth century thinkers, writers and philosophers who offered insights into our contemporary society's information overload and truth quagmire. Intellectuals and writers such as Flaubert, Foucault, Orwell, Huxley and Achebe prophetically offered poignant insights into our current socio-political and cultural conundrum where access to information and substantive facts are in conflict. The theme allows for reflection on regimes of truths and beliefs, and the fading relevance of the quest for reality in our time.
LagosPhoto took place at African Artists' Foundation, The Wings Building, Gallery 16/16, The Studio by Polly Alakija, Quintessence and Yaba College of Technology. Outdoor Exhibitions in public spaces include Falomo Roundabout and Dolphin Estate Park.
Abstract Future Exhibiton
Lagos, Nigeria, December 2015
‘Abstract Future’ will shine a spotlight on contemporary abstract Nigerian Art. Focusing on two prominent Nigerian artists, the exhibition intends to open up a platform for tracing, contextualizing and discussing non-figurative art in Nigeria. The main aim in ‘Abstract Future’ is to look at Nigeria and its art through a different lens, using figments of the imagination that are directly inspired by Nigeria and its society. The exhibition will seek to stimulate different perspectives, working on the premise that in order to make a difference one has to look at things differently. Through the works of these artists, one can look at Nigeria differently through a non-figurative and non-definitive lens. The exhibition is a one night only affair happening in Lagos, Nigeria at the end of 2015 in the festive period.
Perception Exhibition
London, August 2015
In conjunction with Grey Matters, a Mental Health blog, Hannah Remz Curation is curating an exhibition that aims to fight stigma associated with mental illnesses. The exhibition features artists who have lived through or presently deal with a mental health problem. Themes will be centred on their perception both in society and their perceptions of themselves. Does having such an illness weigh negatively on personal perception? Furthermore, does the perception in society create a domino effect on negative self-perception? This exhibition is about opening a platform for understanding and empathising with those with mental illnesses and in doing so changing those negative perceptions.
Queens College Arts' Festival
Cambridge, March 2015
Scandal Exhibition appeared in the 2015 Queens' College, Cambridge annual arts festival.
Scandal Exhibition
Cambridge, January 2015
In art the body has always been a fixation. Classical art focussed on the ideal. Masculinity was perfection and nudity was chiselled. But of women it was all about modesty, modesty and chastity. For women, the nude would be far too sexual. In this exhibition we lift the mode of representation set by the ancients to reveal and desensitise the phenomena of the nude. Women can be represented nude from the Aphrodite of the ancient to the native freedom of African tradition where women dancing in the nude was a rite of passage. Men and women can return to the natural state as it was in Adam and Eve without the chiselling and focus of artists' fixation on Athletes. This exhibition is about changing the way we view the nude.