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British-Nigerian artist and scientist (born 1963) From Wikipedia, the free encyclopedia
Oladélé Ajiboyé Bamgboyé (born 1963) is a Nigerian-born British artist and scientist known for his Unmasking series which innovated with early 3D technology in the 1990s.[1]
This article may require cleanup to meet Wikipedia's quality standards. The specific problem is: "Reviews and news" section is almost just external links. (October 2023) |
Ola Bamgboyé | |
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Born | Oladélé Ajiboyé Bamgboyé 1963 (age 60–61) Odo-Eku, Nigeria |
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A founding member of the Street Level Gallery in Glasgow and curator at the Cambridge Darkroom Gallery, Bamgboyé has been exhibiting internationally since the mid-1990s.[2] In 1997, he attended documenta X, where he won international acclaim for his work Paradigm Shift: African Stories.[3]
Currently, he is a civil servant and member of the UK Government Science & Engineering Profession.[4]
Bamgboyé was born in Odo-Eku, Nigeria in 1963 as the second of seven children to Salome and Ezra Bamgboyé. In 1975, the family emigrated to Glasgow, Scotland. After 6 years in Scotland, the family moved back to Nigeria in 1981 while he remained in Scotland to continue his studies.[5]
In 1985, he received a Bachelors of Science in Chemical & Process Engineering (BSc) from the University of Strathclyde. He later attended the Slade School of Fine Art, graduating with a Master of Arts in Digital Media & Philosophy of Art in 1998.[2]
Bamgboyé was awarded three residencies: International Artist in Residence Awards at the Banff Centre[5] and ArtPace[6] in 1992 and 1999, respectively, and the Koninkrijk der Nederlanden Artist in Residence Scholarship from the V2_Lab and Witte de Wit in 2000.[7]
The Unmasking series was developed and exhibited in three parts and, as noted in the Unmasking-3 Framework, was "a logical development of the artist's general inquiry into the prevalent issues of cultural ethics, the role of a future art practice, and finally making sense of the artist's interest in the intersection of technology, culture, art, philosophy and politics".[8]
First conceptualised when Bamgboyé was at Slade in 1998,[9] it continued during his residency at ArtPace in 2000 and finally culminated in 2001 at Witte de With.[1] Utilising cutting edge technology for the era, Bamgboyé tested the boundaries of art ownership and commodification by scanning artefacts held in museums and notably the Queen Mother Head, a 16th-century bronze sculpture from Benin, Nigeria, held by the British Museum.[6]
He developed the series with scholars, computer programmers and scientists, publishing the Unmasking 3 Framework with coauthors David England and Ming Tai. Unmasking 3, as a research project and framework, was a joint collaboration with the Foundation for Creative Technology and V2_.[1]
As a lecturer at Bridge the Gap,[10] he focused on his interest in quantum physics and its potential applications in his Unmasking series, the influence of which can be seen in his Yokohama installation of Unmasking-3.[11]
Year | Exhibition | Gallery | Location | Ref. |
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1985 | Photographs | Glasgow School of Art | Glasgow, Scotland | [12] |
1989 | ANIMA MUNDI: Still Life in Britain | The Stills Gallery | Edinburgh, Scotland | [13] |
Maison de la Culture Parc Frontenac | Montreal, Canada | [14] | ||
1992 | Five Big Images | Kiek In de Kok | Tallinn, Estonia | [12] |
1995 | Well Without End | Künstlerhaus Bethanien Studio II | Berlin, Germany | [12] |
1998 | The Unmasking, Part I | Slade College of Art UCL | London, UK | [9] |
Movements | Städtische Galerie Bremen | Bremen, Germany | [15] | |
Oladele Ajiboye Bamgboyé | Gallery One, Culturgest | Lisbon, Portugal | [16] | |
1999 | Unmasking Part 2 | ArtPace | San Antonio TX, USA | [6] |
2000 | The Unmasking, Part II | Thomas Erben Gallery | New York NY, USA | [17] |
Strangers and Paradise | Witte de With | Rotterdam, Netherlands | [18] | |
Videoworks | Helsinki Art Museum | Helsinki, Finland | [12] | |
2001 | Unmasking 3 | Witte de With | Rotterdam, Netherlands | [19] |
2002 | The Hair or the Man (1994) and Blink (2001) | Thomas Erben Gallery | New York NY, USA | [20] |
Year | Exhibition | Gallery | Location | Ref. |
---|---|---|---|---|
1986 | Nine Photographers at the Glasgow Print Studios | Glasgow Print Studio | Glasgow, Scotland | [12] |
1987 | New Light in Scottish Photography | The Stills Gallery | Edinburgh, Scotland | [12] |
1991 | The Problematics of Identity in Photography | Dazibao | Montreal, Canada | [12] |
1994 | Whitechapel Open | Whitechapel Gallery | London, UK | [12] |
1995 | Self-Evident | Foto Institut | Rotterdam, The Netherlands | [12] |
Ikon Gallery | Birmingham, UK | [12] | ||
Sorak International Art Biennale | Sorak International Art Biennale | Sorak, South Korea | [12] | |
1996 | Prospect 96 | Schirn Kunsthalle | Frankfurt, Germany | [12] |
In/Sight – African Photographers 1940 – Present | The Guggenheim | New York NY, USA | [12] | |
1997 | Die Anderen Modernen: Zeitgenossische Kunst aus Afrika, Asien und Lateinamerika | Haus der Kulturen der Welt | Berlin, Germany | [12] |
Alternating Currents – as part of "Trades Routes: History and Geography – Africus | The 2nd Johannesburg Biennale | Johannesburg, South Africa | [21] | |
documenta X | Fridericianum | Kassel, Germany | [22] | |
1998 | Accrochage – Part II | Thomas Erben Gallery | New York NY, USA | [23] |
Transatlantico | Centro Atlantico de Arte Moderno | Las Palmas de Gran Canaria, Spain | [12] | |
Afromedi@rt | Kunsthalle Krems | Krems an der Donau, Austria | [12] | |
Interference | African Art Museum of Ifan Cheikh Anta Diop | Dakar, Senegal | [12] | |
DAK'ART 98 – Biennial of Contemporary African Art | African Art Museum of Ifan Cheikh Anta Diop | Dakar, Senegal | [12] | |
1999 | Summer Gallery Show | Thomas Erben Gallery | New York NY, USA | [12] |
Laboratorium | Museum voor Fotografie | Antwerp, Belgium | [12] | |
2000 | Intelligence – 1st Tate Triennial of Contemporary British Art | Tate Britain | London, UK | [24] |
Mirror – as part of "Voila – le Monde dans la Tete" | Musée d'Art Moderne de Paris | Paris, France | [12] | |
Mission Finland | Helsinki Art Museum | Helsinki, Finland | [12] | |
Bodies of Resistance | Real Art Ways | Hartford CT, USA | [12] | |
Mostra Africana de Arte Contemporânea | SESC Pompeia | São Paulo, Brazil | [25] | |
South Meets West | Kunsthalle Bern | Bern, Switzerland | [26] | |
2001 | The Short Century | Museum of Contemporary Art | Chicago IL, USA | [27] |
House of World Cultures Martin-Gropius-Bau | Berlin, Germany | [27] | ||
Museum Villa Stuck | Munich, Germany | [27] | ||
Animations | MoMA PS1 | Long Island City NY, USA | [28] | |
Tirana Biennale 1 – Escape | National Museum of Fine Arts | Tirana, Albania | [12] | |
Mega Wave: Towards a New Synthesis | Yokohama International Triennale of Contemporary Art | Yokohama, Japan | [29] | |
Bridge the Gap | CCA Center for Contemporary Art Kitakyushu | Kita-Kyushu, Japan | [30] | |
2002 | The Short Century | MoMA PS1 | Long Island City NY, USA | [31] |
2003 | Taipei Biennial | Taipei Biennial | Taipei, Taiwan, Republic of China | [16] |
2016 | Après Eden: The Walther Collection | La Maison Rouge | Paris, France | [32] |
2021 | 25 years | Thomas Erben Gallery | New York NY, USA | [33] |
2022 | Shifting Dialogues Photography from The Walther Collection | K21 | Düsseldorf, Germany | [34] |
2023 | Accrochage | Thomas Erben Gallery | New York NY, USA | [35] |
Year | Title | Description | ISBN |
---|---|---|---|
1989 | Anima Mundi: Still Life in Britain | Canadian Museum of Contemporary Photography / National Gallery of Canada | 978-0-88884-555-9 |
1993 | Photofeis | Scottish International Festival of Photography catalogue | |
1995 | Prospect 96 at Frankfurter Kunstverein | Exhibition catalogue | 978-3-908162-18-6, 978-3-908162-20-9 |
Self Evident catalogue | Ikon Gallery catalogue | ||
Freedom | An Amnesty International Glasgow Groups exhibition catalogue | 978-1-873328-13-2 | |
1996 | In/Sight African Photographers, 1940 to the Present | Solomon Guggenheim Museum exhibition catalogue | 978-0-8109-6895-0, 978-0-89207-169-2 |
1997 | Die Anderen Modernen | Haus de Kulturen de Welt, Berlin exhibition catalogue | 978-3-89466-194-6 |
Trade Routes: History + Geography | Exhibition catalogue for 2nd Johannesburg Biennale | 978-0-620-21522-0 | |
Documenta X | Short Guide, documenta und Museum Fredricianum | 978-3-89322-938-3 | |
Crossing | Contemporary Art Museum, University of South Florida exhibition catalogue | 978-1-889195-24-7 | |
1999 | Contemporary Photographers, 3rd edition | - | 978-1-55862-190-9 |
Dreams | A Fondazione Sandretto Re Rebaudengo per l'Arte event catalogue for the Venice Biennal of Visual Arts | 978-88-8210-155-8 | |
2000 | Mostra Africana de Arte Contemporânea | Exhibition catalogue published by Associação Cultural Videobrasil | |
More Works about Buildings and Food | Catalogue of internet livestream, Fundição de Oeiras, Hangar K7 | 978-972-98700-0-2 | |
2001 | ARCO 02 | Ifema Feria de Madrid catalogues | 978-84-8215-202-8, 978-84-8215-203-5, 978-84-8215-201-1 |
2002 | Taipei Biennial – Great Theatre of the World | Exhibition catalogue | 978-957-01-2630-3 |
2003 | Revisitar Canarias / The Canary Islands Revisited | Collection by Government of Canary Islands | 978-84-7947-329-7, 978-84-7947-325-9 |
Awarded the Richard Hough Prize for Photography (1992), Scotland.[5]
Awarded the Gulbenkian Foundation Grant (1993)[5]
Nominated for The Vincent van Gogh Biennial Award for Contemporary Art in Europe (2000)[36]
Oladélé Ajiboyé Bamgboyé (review), Nka: Journal of Contemporary African Art[9]
Interview with Oladélé A. Bamgboyé, Journal of Contemporary African Art[37]
ART IN REVIEW; Oladele Bamgboye, NY Times[24]
Oladélé Bamgboyé, The Unmasking, Part II and Earlier Photoworks, Time Out New York[38]
For a few euros more | Art and design, The Guardian[39]
Thick and thin, The Guardian[40]
Into Africa, artnet.com Magazine[41]
Oladélé Bamgboyé, The Unmasking, Part II, New York Arts Magazine[42]
From, Witte de With, centrum voor hedendaagse kunst[43]
Exhibition Histories - The Short Century, C&[44]
Oladele Bamgboye, Artist of the Month (article), New York Contemporary Art Report[45]
Anima Mundi (review), ETC[14]
Documenta X - Reclaiming the political project of the avant-garde, Third Text[46]
Moving In. Eight contemporary African artists, Flash Art International[47]
Oladélé Ajiboyé Bamgboyé, BE Magazin[48]
The White Aesthetic Necessitated by the 'Glasgow Miracle'[49]
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