IV Lagos Art and Architecture Biennial ::::::::::::::::::::::::::::::: re-(t)exHile :::::::::::::::: February 2024 ************* Tafawa Balewa Square ________ ArtSeries#150

Re-(t)exHile, was presented at the 4th Lagos Biennial of Art and Architecture 2024, held in Tafawa Balewa Square — a former colonial racecourse transformed into a post-independence civic space. This historically charged site enabled a critical exploration of territory, sovereignty, belonging, and alliance, functioning as a symbolic node from which to rethink the biennial format. Curated by Folakunle Oshun and Kathryn Weir, the exhibition deliberately moves away from conventional display models to explore open, processual forms where the artwork is not an endpoint but a generative gesture. Within this framework, LAPIEZA participates with the relational installation re-(t)exHile, a project that investigates the environmental and geopolitical impact of global textile waste in Africa and its circulation as postcolonial commodity. Tthe piece unfolds through found materials, migrant textiles and ephemeral architectures, weaving together poetic and critical threads around exile, refuge, and repair. Artists including Martinka Bobrikova, Óscar De Carmen, Adebola Badmus, and María Alejandra Gatti contribute to this polyphonic intervention, in collaboration with Anto Lloveras. The project integrates prior field research in Lagos (2022–2023), visual essays, social media-based storytelling, and a photographic archive by Mide King, forming a living document that amplifies the work’s political and aesthetic layers. This Art Series is part of LAPIEZA’s long-standing commitment to expanded, situated, and relational art practices

Art as refuge

A glance at the 4th Lagos Biennial

http://antolloveras.blogspot.com/2024/02/art-as-refuge-glance-at-4th-lagos.html

The 2024 edition of the Lagos Biennial takes place in the heart of Lagos on the grounds of Tafawa Balewa Square, a site named in honour of the first Nigerian Prime Minister. The Biennial occupies this historical space, linked to entertainment in the colonial period as a racecourse and to political, cultural and commercial events after Independence, in order to reflect on its possible meanings in relation to political allegiance, territory, sovereignty, regionality, notions of belonging, encounter, and alliance. It moves the cursor away from a history of ‘universal’ exhibitions and biennials towards experiments in non-conventional modes of exhibition making, shifting from the idea of the work as an end in itself towards generative models and prototypes that continue to activate possibilities in the world.

REEL I   https://www.instagram.com/stories/highlights/18039450481656614

REEL II  https://www.instagram.com/stories/highlights/18024309838821136

re-(t)exHile http://antolloveras.blogspot.com/2023/11/the-pavilion-to-be-showcased-at-4th-art.html ++ http://antolloveras.blogspot.com/2024/01/lagos-biennial-2024-3-to-10-february.html Research trip http://antolloveras.blogspot.com/2022/09/lagos-nigeria-september-2022-biennial.html + http://antolloveras.blogspot.com/2023/09/iv-bienal-de-arte-y-arquitectura-lagos.html REFUGE 2024 https://lagos-biennial.org

Martinka Bobrikova

Óscar De Carmen

Adebola Badmus

María Alejandra Gatti

Anto Lloveras

https://lagos-biennial.org

CURATED BY 

FOLAKUNLE OSHUN AND KATHRYN WEIR

PHOTOS BY MIDE KING

https://guardian.ng/art/artists-illuminate-environmental-implications-of-textile-waste-at-the-refuge/

IV Art and Architecture BIENNIAL ________ Lagos, Nigeria 2024 __________TEXTILE PAVILION

https://www.lagos-biennial.org

The OUTSIDER team's participation in the Biennale technically consists of the construction of a textile pavilion in the square, anchored to the sculptures in the shape of horses and eagles that are at the top of the entrance. The pavilion is made up of tension cables anchored to the sculptures and a spike to which these cables are anchored. This installation is carried out by the technical arm of LaBienal to guarantee stability and anchoring with the associated engineer. Before and during the Biennale, the OUTSIDER team will coordinate training on these cables of a cover, made up of textile scraps purchased at the Kataangwa market. Several bundles will be purchased, which will be analyzed in the workshop, and will be sewn on-site to form the textile cover (jaima-flag concept), which will increase in size during the biennial, with the artists working on its creation, counting with the participation of the attending public. The pavilion is built together, but it is never finished. Whoever wants to sew a part. Being outdoors, weather conditions, wind or rain, can be agents that intervene in the process. Being a symbolic cover, a piece of fabric sewn with another, even with the utmost rigor, the impermeability of the cover seems secondary, and it can get wet and dry in the sun. The cover fragments will be sewn and securely consolidated to the guy wires. The perimeter of each piece that makes up the awning must necessarily be self-supporting and resistant so that its own weight does not open the seams. The sum of fragments consolidates the cover, which is considered as a process, a fragment of a greater possibility. The disassembly and transfer will take place once the public part of the Biennial is over. Some relevant pieces, the most successful, will be packaged for later use in other contexts. Repatriated and traveling mini-pavilions.

A team of four people will travel to Lagos, Nigeria on January 15, 2024, to prepare the OUTSIDER project at the 4th Art and Architecture Biennial, to be held in Tawafa Balewa Square, along with eleven other participating teams. The biennial is held outdoors and is made up of twelve pavilions different in concept and form, which are united by the premise of curating, in relation to the concept of REFUGE. Global museography or micro-urbanism, fair or expo type, is carried out by AKETÉ and its associates. The official opening is on February 3 and the Biennial will last a week.

+ http://antolloveras.blogspot.com/2022/09/lagos-nigeria-september-2022-biennial.html + http://antolloveras.blogspot.com/2021/11/lagos-biennale-2021-flag-squad-2023.html

WILD FLOWERS¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨EXHIBITION #74¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨***************************************SOCIAL CAPITAL AND relational NARRATIVES___________________ONGOING NATURALIZATION¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨¨

Adonis aestivalis

Anthemis arvensis

Anagallis

Agrostemma githago

Centaurea cyanus

Coreopsis tinctoria

Dianthus barbatus

Digitalis purpurea

Eschscholzia californica

Gypsophila elegans

Glebionis segetum

Papaver rhoeas

Silene latifolia

Viola tricolor

A wildflower (or wild flower) is a flower that grows in the wild, meaning it was not intentionally seeded or planted. The term implies that the plant probably is neither a hybrid nor a selected cultivar that is in any way different from the way it appears in the wild as a native plant, even if it is growing where it would not naturally. 

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961 MARTINKA BOBRIKOVA - OSCAR DE CARMEN - BED AND BREAKFAST PRAHA

962 SINQUENZA - BOTTLE IN A MESSAGE

963 PAUL DOEMAN - SET

964 FREDRIK LUND - BODY IN SPACE

965 NIKÉ NAGY - PINK AND GREY

966 MARÍA ENRÍQUEZ - DOS MUNDOS

967 ANA MATEY - CHAIR

968 TANIA ARIAS - IN THE WILD

969 MARISA CAMINOS - CLON - PUNTO DE FUGA (III)

970 TOMOTO - MEAT UPDATES ++ 115 ++

971 POL PARRHESIA - GOOD DEAL

972 MANOLO CALVO - CASA STUDIO MADRID

973 FRANÇOISE ROHMER - POTS - PROVENCE

974 TEREZA ERBENOVÁ - GARDEN AND STUDIO

975 JESÚS LEÓN - COCONUT - MEXICO CITY GLAM SERIES

976 MANUEL MAQUEDA - MIEL

977 RUBÉN BONET - ASFIXIA - CONSUMO Y FASCISMO

978 PAULA LLOVERAS - POLITICAL FILTER

979 LLLL - YOUTUBE BREAKFAST - HIGH CLASS (1)

980 ANTO LLOVERAS - PRAHA QUADRENNIAL - SITUATIONAL FIXERS

In biology, naturalisation (or naturalization) is any process by which a non-native organism spreads into the wild and its reproduction is sufficient to maintain its population. Such populations are said to be naturalised. Some populations do not sustain themselves reproductively, but exist because of continued influx from elsewhere. Such a non-sustaining population, or the individuals within it, are said to be adventive.[1] Cultivated plants are a major source of adventive populations. Naturalised species may become invasive species if they become sufficiently abundant to have an adverse effect on native plants and animals.

ART SHOW AND NARRATIVES 

BY ANTO LLOVERAS

CONCEPTUAL ARTIST AND RELATIONAL CURATOR

WITH ASSOCIATED WILD FLOWERS

ALL RIGHTS RESERVED

NEW SHOW

................................

THE WORD

...............................................

**************************************************

EXHIBITION #75 THE WORD

2016              *****

http://lapiezalapieza.blogspot.com.es/2016/02/the-word-exhibition-75-7th-season-2016.html

1000 

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ART SERIES BY ANTO LLOVERAS

- DIRECTOR CURATOR -

AND 

ASSOCIATED ARTISTS

ART SERIES 62 | STRUCTURAL CONVERSATIONS NORWAY | LLLL ART AGENCY - FROZEN HEAT SATELLITES

785 LLLL AT WORK

786 STIAN AND LUTZ | OSLO

787 FREDRIK LUND AND THE LANDSCAPE

788 LKV | PER FORMO + TORHILD AUKAN

789 TSSK BLUNK RAKE - SHOWROOMS

790 CONSTANT DECAY . CAMPZERO

791 KITCHEN DIALOGUES

792 TKM . PONTUS KYANDER

793 HUB . BRIT DYRNES

794 MANDAL

795 UNITED NATION OF ART

796 YOUNG NORWEGIAN POETRY

797 ART ALSO SHINES IN PERIPHERIES

798 KUNSTHALL IS OPEN

799 BRANDTSEGG . SOUND AND POLITICS

800 JOHN MURPHY . THE HIDDEN MAP

SERIES CURATED BY FROZEN HEAT SATELLITES

BED AND BREAKFAST____________________MARTINKA BOBRIKOVA + OSCAR DE CARMEN:::::::::::961::::WILD FLOWERS::::::::::::::: PRAHA 2015

ASSOCIATED NARRATIVE
http://antolloveras.blogspot.com.es/2015/06/prague-quadrennial-of-performance-and.html

LAPIEZA ART SERIES #74 WILD FLOWERS