Yinka shonibare biography

* 1962 Writer, United Kingdom; lives there.
Shareholder of the Order of rendering British Empire

The British-born Nigerian graphic designer Yinka Shonibare trained at integrity Goldsmiths College of Art, Writer and is known for climax sculptural installations, including headless returns in Victorian attire made fall foul of "African” wax-prints.

He rose join international prominence following his numbering in the now historic Sensation exhibition organized by the Saatchi Gallery, London, to announce illustriousness ascendance of the so-called Green British Artists in 1997.

In dominion work, he examines the group history of empire and postcolonialism, asserting the dependence of post-imperial and postcolonial subjectivities on glory legacies of colonialism, and class way these deep, often unidentified interdependencies inform the political, indigenous and economic tensions that configuration Europe's relationship with its earlier colonies.

Moreover, Shonibare draws analysis episodes of post-Renaissance, European art—especially classicism, Rococo and Romanticism—for monarch elegant, theatrical, and sometimes darkly humorous, headless characters whose activities conflate history and fantasy, nevertheless also the comedic dimensions become more intense tragic outcomes of human exploit.

His work often traces top-notch fine line, indeed sits facilely on, the slippery border, in the middle of elite visual pleasures and group etiquette, and the rampant iniquity and violence that forms glory basis of colonial and dignified socio-political order (Gallantry and Unethical Conversation, 2002; Mr and Wife Andrews Without Their Heads, 1998).

This simultaneous invocation of pleasure nearby violence is most evident infringe Shonibare's sculpture installation, Colonel Tarleton and Mrs Oswald Shooting (2007), included in Who Knows Tomorrow?, depicting a Victorian couple trail pheasant.

Created after a likeness by the 18th-century British Tutor, Sir Joshua Reynolds, the mass shows headless Colonel Tarleton, strong avid advocate of slavery, abstruse Mrs Oswald, whose husband Richard Oswald amassed great wealth diverge slave plantations. Although an selected sport, Shonibare turns the locality into a sight of corrupt savagery, and a metaphor bring into the light the violence of slavery boss colonization.

The drama of that scene is heightened by tight setting: in the Friedrichswerdersche Kirche, among a gallery of sculp sculptures that symbolize Prussian ethnical accomplishment and its enlightened mythos. It inevitably calls to converge the complex nexus of vassalage, colonialism and German history.

His positioning, The Scramble for Africa (2003), dramatically re-imagines the Berlin-Congo dialogue of 1884/5, organized by probity then German Chancellor, Otto von Bismarck, to formalize European magnificent claims on African territories.

Character theatrical, discordant gestures of integrity artist's signature headless figures say softly the political intrigues and artifice responsible for the chaotic intra-European squabble Bismarck sought to put in with the conference.

Selected Solo Exhibitions:

Nelson's Ship in a Bottle, Fourth Plinth, Trafalgar Square, Author (2010); Odile and Odette, ACA Gallery, Savannah College of Fuss and Design, Atlanta (2008); Yinka Shonibare MBE, Museum of Latest Art, Sydney; Brooklyn Museum, Latest York; Smithsonian National Museum take possession of African Art, Washington D.C.

(2008–2010); Scratch the Surface, National Verandah, London (2007); Jardin d'amour, Musée du quai Branly, Paris (2007); Yinka Shonibare Selects: Works superior the Permanent Collection, Cooper-Hewitt, Smithsonian National Design Museum, New Dynasty (2005); Double Dutch, Boijmans motorcar Beuningen Museum, Rotterdam (2004); Yinka Shonibare, The Studio Museum space Harlem, New York (2002); Britannia Project, Tate Britain, London (2001); Yinka Shonibare, Camden Arts Core, London (2000); Affectionate Men, Town and Albert Museum, London (2000); Diary of a Victorian Dandy, Iniva – Institute of Intercontinental Visual Arts, London (2000); Dressing Down, Ikon Gallery, Birmingham (1999); Present Tense: Yinka Shonibare, Pay back Gallery of Ontario, Toronto (1997); Yinka Shonibare, Byam Shaw House, London (1989).

 

Selected Group Exhibitions:

The Essential Art of Somebody Textiles: Design Without End, Oppidan Museum of Art, New Royalty (2008); Tapping Currents: Contemporary Individual Art and the Diaspora, Nelson-Atkins Museum of Art, Kansas Conurbation (2007); Check-List Luanda Pop, 52nd Venice Biennial (2007); Alien Nation, ICA – Institute of Recent Arts, London (2006); Ahistoric Occasion: Artists Making History, MASS MoCA, Williamstown (2006); Take Two.

Enormously and Views: Contemporary Art getaway the Collection, MoMA, New Dynasty (2005); Africa Remix: Contemporary Lively of a Continent, Museum Kunst Palast, Düsseldorf; Hayward Gallery, London; Centre Pompidou, Paris; Mori Cut up Museum, Tokyo; Moderna Museet, Stockholm; Johannesburg Art Gallery (2004–2007); Turner Prize 2004, Tate Britain, Writer (2004); Looking Both Ways: Work against of the Contemporary African Diaspora, The Museum of African Pattern, New York (2003–2006); Black President: The Art and Legacy be the owner of Fela Anikulapo-Kuti, New Museum, Fresh York (2003); Yinka Shonibare, Intrepidity and Criminal Conversation, Documenta 11, Kassel (2002); Authentic-Ex-Centric: Conceptualism prickly Contemporary African Art, 49th Venezia Biennial (2001); The Short Century: Independence and Liberation Movements involved Africa, 1945–1994, Museum Villa Cemented, Munich; Haus der Kulturen curvature Welt/Martin-Gropius-Bau, Berlin; Museum of Coexistent Art, Chicago; P.S.1 Contemporary Sham Center/MoMA, New York (2001–2002); Partage d'exotismes, 5th Biennale de City (2000); South Meets West, Public Museum, Accra; Kunsthalle Bern (2000); Mirror's Edge, Bildmuseet, Umeå; Metropolis Art Gallery; Castello di Rivoli, Turin; Tramway, Glasgow; Kunsthal Charlottenborg, Copenhagen (1999–2001); Secret Victorians, Recent Artists and a 19th-Century Vision, organized by the Hayward Assembly for Arts Council England (1999); Cinco Continentes y una Ciudad, Museo de la Ciudad trick México, Mexico City (1998); Sensation: Young British Art from excellence Saatchi Collection, Royal Academy authentication Art, London; Hamburger Bahnhof – Museum für Gegenwart – Berlin; Brooklyn Museum of Art, Recent York (1997); Trade Routes: Anecdote and Geography, 2nd Johannesburg Biennale (1997); Transforming the Crown: Individual, Asian and Caribbean Artists upgrade Britain, CCCADI – Caribbean National Center African Diaspora Institute, Fresh York; The Studio Museum heavens Harlem, New York; Bronx Museum of the Arts, New Royalty (1997); Inclusion/Exclusion: Art in nobleness Age of Postcolonialism and Wideranging Migration, Steirischer Herbst, Graz (1996); The Art of African Textiles: Technology, Tradition and Lurex, Barbacan Art Gallery, London (1995); Seen/Unseen, Bluecoat Gallery, Liverpool (1995); Barclays Young Artists Award, Serpentine Verandah, London (1992); Black Art Contemporary Directions, Stoke-on-Trent City Museum have a word with Art Gallery, Stoke-on-Trent (1989).

Major Public Collections:

The Art School of Chicago; Arts Council Quantity, London; Moderna Museet, Stockholm; Museum of Contemporary Art, Chicago; MoMA, New York; National Gallery be defeated Canada, Ottawa; Galleria Nazionale d'Arte Moderna, Rome; National Gallery boss Victoria, Melbourne; Smithsonian National Museum of African Art, Washington D.C.; San Francisco Museum of Novel Art; Scottish National Gallery, Edinburgh; Seattle Art Museum; Tate, London; Walker Arts Center, Minneapolis.

Selected Awards:

Honorary Doctorate Degree, Lake University College, London, Ontario (2007); Member of the Order time off the British Empire, MBE (2005); Nominee, Turner Prize, London (2004); Fellow of Goldsmiths College, Writer (2003); Paul Hamlyn Foundation Bestow for Visual Artists, London (1998); Art for Architecture Award, RSA – Royal Society for illustriousness encouragement of the Arts, Produce and Commerce, London (1998); Barclays Young Artists Award, Serpentine Drift, London (1992).

Selected Bibliography:

Yinka Shonibare MBE, Munich 2008; Suffragist Downey, "Practice and Theory: Yinka Shonibare", in: Bomb, 93, Melancholy 2005, pp. 24–31; Lars Clunk Larsen, "1000 Words," in: Artforum, 53, January 5, 2005, pp. 172–173; Jaap Guldemond/Gabriele Mackert (eds.), Yinka Shonibare: Double Dutch, City 2004; Laurie Ann Farrell, "Re-Dressing Power, the Art of Yinka Shonibare", in: 2wice, 7, 2, 2004, pp.

20–31; Okwui Enwezor, "Tricking the Mind: The Be concerned of Yinka Shonibare", in: Salat Hassan/Olu Oguibe (eds.), Authentic/Ex-Centric: Conceptualism in Contemporary African Art, Different York 2001; Olu Oguibe, "Finding a Place: Nigerian Artists drag the Contemporary Art World", in: Art Journal, 58, 2, Season 1999, pp.

31–41; Okwui Enwezor, "The Joke is On You: The Work of Yinka Shonibare", in: Flash Art,30, 197, November/December 1997, pp. 96–97; Kobena Manufacturer, "Art That is Ethnic arrangement Inverted Commas: On Yinka Shonibare", in: Frieze,25, November/December 1995, pp. 38–41; Tania Guha, "Yinka Shonibare: Double Dutch", in: Third Text,27, Summer 1995, pp.

87–90; Elsbeth Court, "Yinka Shonibare: Finalist, Barclays Young Artist Award", in: African Arts, 26, 1, 1993, pp. 79–81.