From October 24th to 25th, 2025, G.A.S. Lagos, in collaboration with Njiko, hosted the second iteration of Njiko: Manifesting Futures – The Ontology of the Possible, presented by designer and researcher Myles Igwebuike as a special project for Design Week Lagos 2025. Building upon the conceptual foundations of Njiko, a framework dedicated to reimagining the cultural heritage of Southeastern Nigeria, this iteration staged an intergenerational dialogue between Igwebuike and architect, designer, and publisher Demas Nwoko, weaving together design, publishing, pedagogy, and histories of cultural self-determination.

G.A.S. Foundation is delighted to welcome Sola Olulode for an immersive six-week residency at G.A.S. Lagos. Working across painting, drawing, printmaking, textiles, and installation, Sola is known for her richly tactile mixed-media surfaces and intimate figurative compositions grounded in themes of care, tenderness, and queer joy. Central to her practice is the language of Nigerian textile craft, particularly indigo dyeing, batik, and other resist techniques, which she integrates into her paintings to create expressive backgrounds and layered material narratives.

On October 16th, 2025, G.A.S. Lagos hosted a studio visit and review session that delved into Adewale Kolawole John’s practice, the works developed during his residency, and the ideas that shaped his time at the Foundation. The afternoon brought together a diverse group of art professionals, including writers, curators, designers, artists, and fellow residents for an engaging session of reflection and dialogue.

On the occasion of the Re:assemblages Symposium, we are pleased to announce a partnership between Guest Artists Space (G.A.S.) Foundation and Contemporary And (C&) to present the C& Cyclopedia in our newly activated Reading Room at the G.A.S. Library and Picton Archive for a period of six months. Conceived as a space for encounters with publications that trace connections across African and Afro-diasporic art and cultural ecologies, the Reading Room features materials from the Re:assemblages programme’s growing ecosystem of contributors, alongside a digital intervention by C&.

Last week, we welcomed ruby onyinyechi amanze, a U.S. based visual artist, to G.A.S. Lagos for a two-week residency. Grounded in drawing, her practice expansively traverses dance, architecture and design to explore the vast and magical potential of space. Working with seven recurring elements, amanze creates minimal spatial interactions that imagine alternative ways of movement. Her current research focuses on developing three-dimensional drawings that challenge how the medium is experienced, informed by the dimensional languages of architecture, design, and choreography.

Nigerian interdisciplinary artist Olufela Omokeko, whose practice examines pressing sociocultural issues through performance, installation, photo-video art, and social practice, recently concluded an eight-week residency at the G.A.S. Farm House in Ikise. During his time there, he focused on the disappearance of local food cultures and the preservation of traditional farming knowledge, exploring these themes through a multi-sensory engagement with land, labour, and sustenance. Drawing inspiration from Ebenezer Obey’s 1976 song Operation Feed the Nation, Olufela reimagined the hoe, a key Yoruba agricultural tool, as both a sculptural and symbolic element that honours the resilience and cultural presence of farmers.

We are pleased to welcome E.N. Mirembe, a Germany-based curator, writer, and researcher, for a four-week residency at G.A.S. Lagos. Their work explores the intersections of literature, curatorial practice, and Black artistic production, with a particular focus on the histories and legacies of African and diasporic literary magazines. Mirembe’s broader inquiry reflects an interest in how these publications have shaped aesthetic production across the African diaspora and how their legacy continues to inform contemporary creative practices.

G.A.S. Foundation is pleased to announce that Khaleb Brooks, a multidisciplinary artist and researcher working across painting, sculpture, film, and performance, will undertake a five-week residency at G.A.S. Lagos. Based in Brazil, Khaleb's practice investigates the intersections of collective memory, the body, and the afterlives of the Transatlantic Slave Trade. Rooted in decolonial and archival methodologies, their work engages history as a living, embodied site, one that continues to shape identities, landscapes, and communities across the diaspora.

Earlier this month, we welcomed Kwadwo A. Asiedu, a Lagos-based Ghanaian-Mexican painter and photographer, to the G.A.S. Farm House in Ikiṣẹ. Raised within the grounds of the International Institute of Tropical Agriculture (IITA), home to one of West Africa’s largest preserved rainforests, Kwadwo’s early life was deeply attuned to the natural world. This foundation informs a visual practice rooted in abstracted landscapes and a sustained inquiry into humanity’s complex relationship with nature. Through his use of elemental forms, he interrogates the dissonance between human ambition and ecological reality, exploring themes of permanence and impermanence while seeking to reframe our relationship with nature toward reverence, humility, and stewardship.