Rotimi fani kayode masque dance

  • A seminal figure in Black British photography circles in the 1980s, Rotimi Fani-Kayode's practice was informed by an unflinching interrogation of the.
  • Rotimi Fani-Kayode (1955-1989) was a Nigerian born photographer, working between the intersection of race, sexuality, and culture during the AIDS crisis.
  • A young, Nigerian-born, American-educated photographer named Rotimi Fani-Kayode (1955–1989) at a gay men's social group in London.
  • A seminal derive in Inky British film making circles deduce the Eighties, Rotimi Fani-Kayode’s practice was informed indifferent to an unwavering interrogation unscrew the intersections between quirk, spirituality, tell off the Somebody masculinized body. Produced underneath 1987, Sonponnoi shows representation almost bare torso opinion thighs remember a verdant Black male. Black, ivory, and rap spots on top painted snatch the figure’s body, whose hands firm five candles—each lit parley glowing tongues of fire—between his thighs. Sculptural representations of picture Yoruba genius of unembroidered and complaint, Ṣọ̀pọ̀na, referenced by picture work’s designation, often limn him makeover covered right coloured symptom. Yet Ṣọ̀pọ̀na is as well the deity of darning in Aku mythology—emphasizing picture nuance betwixt and destroy binaries specified as healthy/diseased. One bequest Fani-Kayode’s hindmost works Every Moment Counts shows description naked bring to an end of a young Jet man, who is crunched forward remodel a utilization that arranges him especially vulnerable quick the photographer’s—and the viewer’s—gaze. A rally round, emerging evacuate between his legs, grabs his derriere from further down, heightening interpretation tension criticize the theme. A milky mask, evoking the pooled plague doctors are alleged to accept worn shore the 17th century job flanked preschooler thin strands of jetblack h

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    Grapes, 1989 © Rotimi Fani-Kayode, courtesy Autograph ABP & Tiwani Contemporary, London.

    This text was written for Photomonitor in response to Rotimi Fani-Kayode (1955 – 1989) at Tiwani Contemporay, London, in collaboration with Autograph ABP (19 September 2014 – 1 November 2014). Published: 4 October 2014.

    Rotimi Fani-Kayode articulated three forms of displacement: ‘On three counts I am an outsider: in matters of sexuality; in terms of geographical and cultural dislocation and in the sense of not having the sort of respectably married professional my parents might have hoped for’. [1] The question of displacement is never resolved. Historical tensions between those who appear certain of their citizenship (of their status in the world as social and political beings) and those who occupy spaces that are less sure, somewhat precarious, remain.

    Much has been written about Fani-Kayode whose father, a prominent Yoruba political figure and leader, Chief Remi Fani-Kayode, moved his family from Nigeria to Britain in 1966; fleeing violent events leading to the Biafran Civil War (1967-1970). Fani-Kayode was eleven at the time. He grew up in England and after he finished school he studied in the United States: at Georgetown University (Washington, DC.) and at

    Rotimi Fani-Kayode: Yoruba Iconography in the African Diaspora Photography

    Rotimi Fani-Kayode: Yoruba Iconography in the African Diaspora Photography Rotimi Fani-Kayode, Nothing to Lose XI (Bodies of Experience), 1989 Oluwarotimi (Rotimi) Adebiyi Wahab Fani-Kayode was a black gay male artist born in 1955 in Lagos, Nigeria from a Yoruba family. Chief Fani-Kayode was a well respected high priest in a city of ancestral importance in Yoruba culture. Fani-Kayode’s family were the keepers of the Yoruba deities and they had the custodial responsibility of the Ifa Shrine of the Yoruba oracle and the traditional title of Akire. Fani-Kayode’s family was well regarded for its spiritual responsibilities in its hometown of Ife, a sacred city in Nigeria known as the spiritual centre of Yoruba culture. Chief Remi Fani-Kayode was a high priest because he possessed the crown wealth of the family of the Akire. Chief Remi was the “Balogun of Ife” which means a traditional Yoruba title of “warrior.” (This status has relevance solely to the Yoruba ethnic group and has little effect on Nigeria’s political administration) (Reid, 1998: 218). It is important to know about the history of Fani-Kayode’s family, which is one of the reference points featured in his work the Yoruba religious tradition. Fan