Suspended States, the first solo exhibition of Y.S.F. and G.A.S. founder Yinka Shonibare CBE RA for over 20 years in a London public institution is now open at Serpentine Gallery. It marks a return for Shonibare who first exhibited at Serpentine South in 1992 as a finalist in the Barclays Young Artist Award, and as a participant in Serpentine's 2006 Interview Marathon. 

Suspended States includes both new and recent installations, sculptures, pictorial quilts and woodcut prints. The works on view explore central themes of legacies of colonial power, sites of refuge and shelter. Shonibare's new works centre on conflicts and related migration, and conversations on public sculptures and their significance in our cities. The exhibition also delves into the ecological impact of colonisation, the European legacy of imperialism and consequential attempts at peace.

We are delighted to open standard bookings for the third edition of the Yinka Shonibare Foundation Lagos Art Tour to Guest Artists Space (G.A.S.) Foundation incorporating the wider creative and cultural community, and ART X Lagos. In 2024 the programme will run from 29th October until 3rd November. Guests will once again be in the company of our chair and founder Yinka Shonibare CBE RA and the trustees and staff of Guest Artists Space (G.A.S.) Foundation, Yinka Shonibare Foundation (Y.S.F.), and be joined by globally renowned artists, curators and collectors.

Amanda Iheme, who emerged as one of the awardees of the G.A.S. Foundation's prestigious annual fellowship is undertaking a residency at G.A.S. Lagos, spanning from April 8 to May 31, 2024. During this residency, Amanda's ambitious agenda includes an exploration of African artists, particularly photographers, and the initiation of a comprehensive research study of vernacular and contemporary southwestern Nigerian architecture, as well as tropical modernism.

She is eager to tap into the rich resources of the library, benefiting from a conducive learning environment, and gaining access to invaluable connections within the organization. While currently engaged in ongoing projects, Amanda plans to kickstart the conceptualization process for new work during the residency. Collaborating with professionals across the building industry, she has expressed her desire to leverage their insights. Armed with her laptop, photography tools, iPad, and microphone, Amanda is well-prepared for this exciting new research.

Graeme Spencer Smith, an artist and draftsman of Jamaican-British descent, joins the creative community at G.A.S. Lagos for a residency commencing on 01-04-2024 until 26-04-2024. Equiped with a background in ceramics and glass from the Royal College of Art, Graeme melds the worlds of architecture, crafts, and sculpture. His unique focus during this residency is to explore Nigerian glass beads, drawing inspiration from their history, patterns, colours, and the interplay of myth. The residency will see him delve into Bida-Masagá glass, not only to study but to design bespoke exhibition furniture, showcasing the essence of his research. As a craftsman who finds solace in the hands-on, Graeme hopes to create new work with locally sourced glass, in response to his experiences at G.A.S. and within the dynamic artistic community of Lagos.

Remi Kuforiji, an architect, spatial practitioner, and researcher in residence at G.A.S. Lagos, invited members of the creative community to apply to attend 'Playful Preservation', a free workshop on April 4th at G.A.S. Lagos, to collaboratively propose alternative ways of preserving Afro-Brazilian history and culture in Lagos.

This opportunity was open to diverse practitioners, including artists, architects, artisans, performers, and other makers and thinkers. Participants were involved in a symposium discussing issues around preserving the urban fabric of the Afro-Brazilian community on Lagos Island. In response to this discussion, participants proposed alternative realities through collaging, drawing and experimenting on top of archival and current photographs of Afro-Brazilian architecture in Lagos. Finally, participants played a prototype of “Anti-Monopoly: Brazilian Quarters” - a board game where players win by preserving the most Afro-Brazilian buildings in Lagos Island. Instead of developing land, you restore buildings; instead of paying rent, you pay visiting fees; instead of going bankrupt, you run out of the preservation budget. Through this playful process of world-building, participants interrogate issues of preserving the cultural memory of the relationship between Lagos and Brazil.