Join us at G.A.S. Lagos on 29th April 2026 for Kitted for Culture, a presentation and hands-on zine-making workshop led by current resident Lukman Ipese. This event will spotlight Lukman’s practice, which centres graphic design as a shared process, exploring how identity, belief, and culture shape visual communication, particularly within his British-Nigerian heritage. The session begins with a presentation that examines football, fashion, identity, community, and the football shirt as a cultural artefact.

Earlier this week, we welcomed British-Nigerian artist Oluwasemilore Delano for a six-week residency at G.A.S. Lagos. Based between London and Lagos, Oluwasemilore works across painting, sculpture, drawing, printmaking, installation, and architecture. Her multidisciplinary practice explores memory, lineage, and Black spatial consciousness, with a particular focus on the figure as both form and a site of perception. Through materials such as charcoal, concrete, oil, and textured black surfaces, she interrogates time, cultural inheritance, and the interplay between personal and communal histories.

Join us at G.A.S. Lagos on April 30th 2026 for Work Starts Now, a film screening and discussion led by current resident Kush Badhwar. The programme brings together three of Kush’s short films: We in a 1 room kitchen, Work Starts Now, and Blood Earth, which explore labour, resistance, and creative expression, from the power of song in political movements to the rhythms of everyday survival in contemporary urban India.

From March 25th to 27th 2026, G.A.S. Lagos hosted the inaugural edition of the G.A.S. Critical Writing Workshop, a three-day initiative designed to support the professional and critical development of emerging local art writers, researchers, and cultural practitioners. Through a series of workshops, readings, and lectures led by then-resident Olutomi Kassim, in collaboration with invited industry professionals, participants engaged deeply with the tools and methodologies of critical art writing. Each day brought together six selected participants to examine writing as a form of activism, encouraging them to ask questions, challenge dominant narratives, and engage with the social and political contexts that shape contemporary art.

On 11 March 2026, Lagos-based photographer Loni Abiodun facilitated Capturing Memories, a community-based photography workshop for students from St. John’s Primary School, Ikiṣẹ. The session introduced the young learners to storytelling through memory and moving image, offering a hands-on opportunity to explore creative expression and self-documentation using photography and drone videography. The workshop formed part of Loni’s five-week residency, during which he was based primarily at the G.A.S. Farm House in Ikiṣẹ. His practice examines everyday life in Nigeria through the lens of identity, community, and the dynamic relationship between tradition and modernity.

G.A.S. Foundation is excited to welcome London-based graphic designer and visual communicator Lukman Ipese for a four-week residency at G.A.S. Lagos. Working across editorial design, photography, digital media, and participatory workshops, he approaches storytelling as a means of connection. His practice centres on graphic design as a collaborative process, using participatory methods to explore how identity, belief, and culture shape visual communication, particularly within his British-Nigerian heritage.

Earlier this week, we welcomed Helsinki-based artist and filmmaker Kush Badhwar for an eight-week residency at G.A.S. Lagos. Working across moving image, sound, and research, his multidisciplinary practice explores the effects of mega-project making on environments and social life, particularly around urban peripheries.

On March 6th, 2026, G.A.S. Lagos hosted One Bulb at a Time, a presentation exploring how agricultural innovation can respond to the unique challenges of the Lagos landscape. Led by Jonathan Chambalin in collaboration with Lagos Gallery Weekend, the session brought together practitioners across craft, farming, and technology, including G.A.S. alumnus Ryan Tenney, whose work foregrounds Pan-African approaches to communal development.

Founded in 2020, MOWAA is dedicated to the preservation of heritage, expansion of knowledge and celebration of West African arts and culture. MOWAA's mission centers on documenting, safeguarding, and activating cultural memory through an integrated approach that brings together curatorial practice, conservation, digitization, archaeology, and public programming.
MOWAA fosters collaboration among scholars, artisans, and cultural practitioners to support research, collections care, exhibition, and knowledge production.
The Museum has undertaken several key initiatives, like leading archaeological excavations particularly around the historic Benin City, contributing to knowledge on the region's material culture and urban history. MOWAA is in the process of establishing robust collections management and documentation systems, conservation and material science infrastructure while also delivering public programs. Guided by the principle of bringing the past to the present for the sake of the future, MOWAA continues to serve as a hub for innovation and cultural continuity.

The Women’s History Museum of Zambia is a feminist and decolonial museum initiative practicing rematriation as way of restoring, documenting, and activating women-led indigenous knowledge systems, material culture, and historical narratives in Zambia. Founded in response to the exclusion of women from dominant archival and museum canons, the museum works across research, exhibitions, digital storytelling, workshops, and public pedagogy to build more equitable and community-grounded cultural infrastructures.
Its work spans oral history, archival activation, textile and material culture research, digital interventions, and collaborative programming with artists, knowledge keepers, researchers, and institutions in Zambia and internationally. Through projects such as digital exhibitions, community learning labs, collection-based interpretation, and women-centred publishing and storytelling, the museum rethinks the archive as a living, usable resource rather than a static repository.
The museum’s broader mission is to contribute to epistemic repair by reconnecting communities to histories and knowledge systems that were disrupted through colonialism, patriarchy, and extractive museum practice. It is committed to shaping new models of museum practice from the African continent that centre memory, care, co-authorship, and public value.

KOKOBA: Meeting Our Griots is a multimodal literary platform operating at the intersection of art, research, archiving, documentation, and education. It provides access to Africa’s literary and intellectual heritage through inclusive, aesthetic, and consciousness-raising experiences in order to negotiate freedom, healing, revelation, remembrance and the reshaping of social imaginaries. KOKOBA harnesses the regenerative qualities of storytelling, books, self-study, and collective study to expand our sense of possibility in service of (inner) world-bending, (inner) world-mending, and (inner) world-making. On the occasion of its fifth anniversary, KOKOBA’s founder and steward, Keren LASME, curated La Bibliothèque des Possibles (The Library of Possibilities), a roving study space and library that reimagines the library as both altar and sanctuary: a bridge between the mundane and the sacred, offering poetic, intimate, and intuitive modes of engaging with knowledge.