Photos

A Retrospective Of Rotimi Fani-Kayode's "Black, African, Homosexual Photography" In London

Okayafrica takes a look at images from late Nigerian photographer Rotimi Fani-Kayode's solo retrospective at London's Tiwani Contemporary.

*disclaimer: this beautiful, thoughtful, inspiring photographic work has been at times called “graphic” so we’re giving a fair warning some of these images are what some call “not safe for work”


Rotimi Fani-Kayode (1955-1989) is a new solo retrospective at the Tiwani Contemporary in London featuring the seminal work of late Nigerian photographer Rotimi Fani-Kayode, whose vivid photography constructed a rarely-seen narrative centering around cultural displacement, Yoruba spirituality, sexual desire between black males, and the subversion of neo-colonialism. Born Oluwarotimi Adebiyi Wahab Fani-Kayode in April 1955 to a high-ranking Yoruba family with considerable political and religious cachet, Fani-Kayode spent his teenage years in exile in the U.K after his politician father, Chief Remi Fani-Kayode, moved the family from Lagos to Brighton to escape the brewing Biafran Civil War. After attending a number of English private schools, Fani-Kayode relocated to the U.S. in the late seventies for his undergraduate degree, where he studied Fine Arts and Economics at Georgetown University before receiving his M.F.A in Fine Arts and Photography at New York's Pratt Institute.

Alongside his longtime romantic and creative partner Alex Hirst, who he met upon his return to London in 1983, Fani-Kayode approached the black male body primarily as a site for exploring the multiplicity of his identities as a gay, black, African male creating homoerotic imagery against the backdrop of  rampant racism, homophobia and anti-immigration rhetoric during the conservative tenure of Margaret Thatcher. Fani-Kayode’s work has drawn comparison to that of American photographer Robert Mapplethorpe, whom he befriended while living in New York. Though Fani-Kayode cites Mapplethorpe as an influence, the Nigerian-born artist's mystical portraits in both color and black-and-white meld African and European iconography with stark nudity to delve deeper into the tenuous relationships that existed within him and the world he inhabited. Fani-Kayode articulated the vision behind his oeuvre in an essay penned a year before his death. In it, he writes:

"My identity has been constructed from my own sense of otherness, whether cultural, racial or sexual. The three aspects are not separate within me. Photography is the tool by which I feel most confident in expressing myself. It is photography therefore — Black, African, homosexual photography — which I must use not just as an instrument, but as a weapon if I am to resist attacks on my integrity and, indeed, my existence on my own terms. [...]

Both aesthetically and ethically, I seek to translate my rage and my desire into new images which will undermine conventional perceptions and which may reveal hidden worlds. Many of the images are seen as sexually explicit - or more precisely, homosexually explicit. I make my pictures homosexual on purpose. Black men from the Third World have not previously revealed either to their own peoples or to the West a certain shocking fact: they can desire each other. Some Western photographers have shown that they can desire Black males (albeit rather neurotically). But the exploitative mythologising of Black virility on behalf of the homosexual bourgeoisie is ultimately no different from the vulgar objectification of Africa which we know at one extreme from the work of Leni Riefenstahl and, at the other from the ‘victim’ images which appear constantly in the media. It is now time for us to reappropriate such images and to transform them ritualistically into images of our own creation. For me, this involves an imaginative investigation of Blackness, maleness and sexuality, rather than more straightforward reportage"

Though his career spanned a brief six years, Fani-Kayode's work has been on display in exhibitions and retrospectives the world over, with the first showing of his work in an African museum having taken place earlier this year in South Africa. The Rotimi Fani-Kayode (1955-1989) retrospective in London commemorates the 25th anniversary of Fani-Kayode's premature death at the age of thirty-four in December 1989 from a heart attack and is curated by Mark Sealy and Renée Mussai of Autograph ABP, a collective of black photographers co-founded by Fani-Kayode in 1988 that aims to highlight creative work from marginalized groups.

Rotimi Fani-Kayode (1955-1989) runs from September 19th to November 1st at Tiwani Contemporary in South London in partnership with Autograph APB.

 

Interview

Sarkodie Is Not Feeling Any Pressure

The elite Ghanaian rapper affirms his king status with this seventh studio album, No Pressure.

Sarkodie is one of the most successful African rappers of all time. With over ten years of industry presence under his belt, there's no question about his prowess or skin in the game. Not only is he a pioneer of African hip-hop, he's also the most decorated African rapper, having received over 100 awards from close to 200 nominations over the span of his career.

What else does Sarkodie have to prove? For someone who has reached and stayed at the pinnacle of hip-hop for more than a decade, he's done it all. But despite that, he's still embracing new growth. One can tell just by listening to his latest album, No Pressure, Sarkodie's seventh studio album, and the follow-up to 2019's Black Love which brought us some of the Ghanaian star's best music so far. King Sark may be as big as it gets, but the scope of his music is still evolving.

Sonically, No Pressure is predominantly hip-hop, with the first ten tracks offering different blends of rap topped off with a handful of afrobeats and, finally, being crowned at the end with a gospel hip-hop cut featuring Ghanaian singer MOG. As far as the features go, Sark is known for collaborating mostly with his African peers but this time around he branches out further to feature a number of guests from around the world. Wale, Vic Mensa, and Giggs, the crème de la crème of rap in America and the UK respectively all make appearances, as well as Nigeria's Oxlade, South Africa's Cassper Nyovest, and his fellow Ghanaian artists Darkovibes and Kwesi Arthur.

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