LagosPhoto Festival 2022 to be held at the Alliance Française – Mike Adenuga Centre in Lagos, Nigeria

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A man rinses soot from his face at the scene of a gas pipeline explosion near Nigeria's commercial capital Lagos December 26, 2006. Up to 500 people were burned alive on Tuesday when fuel from a vandalised pipeline exploded in Nigeria's largest city, Lagos, emergency workers said. Hundreds of residents of the Abule Egba district went to scoop fuel using plastic containers after thieves punctured the underground pipeline overnight to siphon fuel into a road tanker, locals said. REUTERS/Akintunde Akinleye (NIGERIA) FOR BEST QUALITY AVAILABLE SEE GF2DUINONMAA - GM1DUGBZNHAA

The LagosPhoto Festival presents its thirteenth edition entitled “Remember Me – Liberated Bodies, Charged Objects“. This year’s LagosPhoto event opens to the general public on October 29, 2022 at the Alliance Française – Mike Adenuga Centre, 9 Osborne Rd, Ikoyi of Lagos and closes on November 12, 2022. The exhibition stages incorporate the Falomo Roundabout in Ikoyi. The celebration encompasses a connecting program that features exhibitions, workshops, conversations, film screenings and large-scale outdoor installations.

The 2022 LagosPhoto Festival presents “Remember Me – Liberated Bodies, Charged Objects” as a cross examination of the impact of focal point-based media in the formation, chronicling and demand of memory within the body and how these develop local area and individual personalities.

This event will additionally discover artists-such as Olaoluwa Adamu, Seun Adeniyi, Toyin Adedokun, Adesegun Adeokun, Yusuf Adesola, Jumoke Adeyanju, Taiwo Aina, Morenike Ajayi, Owoyemi Ajibola, Oluyomi Akinnagbe, Taoheed Bayo, Cercle d’Art des Travailleurs de Estate Congolaise, David Dawali, Benson Ibeabuchi, Femi Johnson, Danielle Mbonu, Oyedeji Mohammed, Oke Oluwasegun, Michael Jerry Opara, Adeolu Osibodu, Aghogho. Otega, Dafna Tal, Ebisike Valentine, Unachukwu Vincent, Hugo Weber, the Reuters photographers, and the photographers of the Through the Lens collective.

Ethnographers have a habit of appreciating the fantastic and a clan of contemporary artisans working on Africa and its various diasporas fixate on phantasmagoria and foresight in dealing with contemporary issues.

This repudiation of truth is put to the test in “Remember Me – Liberated Bodies, Charged Objects” to welcome the future and the past to explode into the present. The artists in this event connect to the language of photography to develop another dialect for our engagement.

The restitution of cultural goods, information, history, memory and the seriousness of vigilance in the Anthropocene are the main issues of our time. How we apprehend and address these important issues and bring them into dialogical engagement will determine how we shape the present and assemble our perspectives. 

As the human brain records and deciphers verifiable and fictional examples through the eyes, the camera has also evolved into a substantial expansion of the human brain to mold and chisel images. First, as a dedicated document of occasions and events. Secondly, as an instrument of emotional and fictional representation that takes us into imaginary and dreamlike worlds.

Accidentally, the camera has become psychological, the augmentation that helps us to remember and allows us to dream, share memories, and envision clear universes. 

While the human psyche is the place of exchange and aging of obvious breaths.

Today, as never before, humanity has moved into the visual virtual space where visual language is changing and developing at great speed. These conceivable outcomes have allowed us to potentially liberate and augment our bodies, expand ourselves, and fundamentally impact the way we live and our ability to self-articulate as a global society. In a time when virtual entertainment is becoming an asset for petitions, government policy regarding minorities in society, civil rights, strategy or political activity.

Through this year’s LagosPhoto Festival, with the theme “Remember Me – Liberated Bodies, Charged Objects“, we are invited to challenge subjectivity and fabricate new manageable modes driven by a hereditary and contemporary vision.

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