History of Art: Slade Lecture Series

• Slade Lecture Series 2023: Defiant Sculpture: Isek Bodys Kingelez and Mobutu Sese-Seko’s Authenticité, 1990s

  Professor Chika Okeke-Agulu argues that the extravagant hypermodernity of Isek Bodys Kingelez’s architectural sculptures, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu. In this lecture, Professor Chika Okeke-Agulu discusses Mobutu Sese-Seko who, as president of the Democratic Republic of Congo (1965-1996), exemplified the theatrical Big Man ruler in postcolonial Africa. By deploying anti-Communist rhetoric, he secured Western Bloc support of his spectacularly kleptocratic regime and, through his anti-Western Authenticité program, created a national culture in his own image. Against Mobutu’s repressive political practice and ideology, Okeke-Agulu reads the architectural sculptures of Isek Bodys Kingelez (1948-2015). He argues that their extravagant hypermodernity, as with segments of popular arts, constitute a distinctive form of imaginative resistance to official culture under Mobutu.

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  1:03:43
• Slade Lecture Series 2023: Drawing the Line: Obiora Udechukwu and Nigeria’s Smiling General 1980s-1990s

  In the 1980’s, the painter and poet Obiora Udechukwu (b. 1946), a leading figure of the Nsukka School, was at the height of his powers, with drawings and paintings celebrated for their lyrical power and trenchant social commentary. Nigeria witnessed its first military coup in 1966, a civil war (1967-70), oil boom in the 1970s. In the 1980s, General Ibrahim Babangida, the smiling, brutal dictator, enforced Structural Adjustment, raised corruption to statecraft and impoverished the citizenry. In that same decade, the painter and poet Obiora Udechukwu (b. 1946), a leading figure of the Nsukka School, was at the height of his powers, with drawings and paintings celebrated for their lyrical power and trenchant social commentary. Professor Chika Okeke-Agulu considers the fate of art and the broader critical culture during the long decade, in the shadow of the military regimes.

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  59:47
• Slade Lecture Series 2023: Prison Drawing: Ibrahim El Salahi in Al Nimeiry’s Sudan, 1970s

  In this lecture, Professor Chika Okeke-Agulu focuses on the calligraphic figuration of Ibrahim El Salahi (b. 1930), the country’s leading modernist and onetime political prisoner. Two years after its political independence from Egypt and Britain in 1956, Sudan witnessed the first of many military coups that have been a recurring feature of the country’s postcolonial history. In this lecture, Professor Chika Okeke-Agulu focuses on the calligraphic figuration of Ibrahim El Salahi (b. 1930), the country’s leading modernist and onetime political prisoner. Okeke-Agulu shows how the sophisticated formalism of Salahi’s drawings constituted a meditative critique of General Jaafar Al Nimeiry’s dictatorship (1969-1985), which survived multiple coups d’état, by stoking religious and ethnic crises, and systematic suppression of all political opposition.

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  1:00:17
• Slade Lecture Series 2023: To speak in Parables: Dumile Feni in Hendrik Verwoerd’s South Africa, 1960s

  Chika Okeke-Agulu examines art & politics in 1960s South Africa paying particular attention to Hendrik Verwoerd, the self-styled “Great Induna,” & architect of Apartheid, whose assassination in 1966 slowed the triumphant march of Afrikaner racist ideology In this lecture, Professor Chika Okeke-Agulu examines art and politics in the 1960s South Africa, paying particular attention to Hendrik Verwoerd, the self-styled “Great Induna,” and architect of Apartheid, whose assassination in 1966 slowed the triumphant march of Afrikaner racist ideology. Okeke-Agulu considers how Verwoerd’s total control of the political space and violent suppression of black resistance created the environment for the emergence of Dumile Feni (1942-1991) who was called “Goya of the Townships” because of his enigmatic, and disturbing and supposedly apolitical drawings.

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  57:10
• Slade Lecture Series 2023: Gazbia Sirry and Egyptian artists in the Nasserite State, 1950s-1960s

  Professor Chika Okeke-Agulu follows the formal and tonal shifts in Gazbia Sirry’s work as it responded to, and was shaped by Nasser’s and post-revolutionary Egypt’s political fortunes. Professor Chika Okeke-Agulu focuses on the work of Gazbia Sirry (1924-2019), to illustrate how leading modernist artists were, in the wake of the 1952 Free Officers Revolution, swayed by Gamal Abdel Nasser’s charisma, putting their art in the service of his brand of Egyptian nationalism and Pan-Arabist ideology. He considers how Sirry responded to Nasser’s increasingly strongman regime and the devastating outcome of 1967 War? Okeke-Agulu follows the formal and tonal shifts in Sirry’s work as it responded to, and was shaped by Nasser’s and post-revolutionary Egypt’s political fortunes.

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  55:22

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