Join us at G.A.S. Lagos on 5th June 2026 for The Archive is Only the First Sentence, an open studio and presentation of residency research by Yoma Emore. Beginning with an introduction to the narrative and archival frameworks that shape her practice, Yoma will move through earlier works and current residency research surrounding The Prince Who Never Was, an ongoing project exploring lineage and the Lusophone–Warri relationship in the early sixteenth century. The presentation will explore speculative mapping, storytelling, family archives, and the relationship between fiction and historical memory.

In December 2025, G.A.S. Foundation, in partnership with the Yinka Shonibare Foundation (Y.S.F.), announced the call for the fourth edition of the G.A.S. Fellowship Award, supported by the Terra Foundation for American Art. This year, the award offered multiple fully funded residencies, including opportunities for outstanding U.S. based artists and cultural practitioners to undertake residencies at the G.A.S. Farm House in Ikiṣẹ.

Earlier this month, we welcomed Kim M. Reynolds, a U.S. writer, educator, maker and recipient of the G.A.S. Fellowship Award 2026, for an eight-week at the G.A.S. Farm House in Ikiṣẹ. Her multidisciplinary practice spans research, literature, culinary arts, and food history, with a focus on pan-Africanism, ritual, social justice, and arts movements across the African continent and its diaspora. She is also the founder of Home Spice, a culinary project tracing the history of capsicum in Black cuisines through writing and cooking.

Join us on 30th May 2026 at G.A.S. Lagos for Underwater Ave, a communal evening bringing together works in progress by current G.A.S. residents Kush Badhwar, Okwei Odili, Oluwasemilore Delano, and Yoma Emore. As their residencies come to a close at the end of May, the artists share unfinished ideas, footage, fragments, prototypes, tests, and experiments developed during their time at G.A.S.

A defining gesture of In Minor Keys — the central exhibition of the 61st Biennale di Venezia curated by the late Koyo Kouoh — is the integration of six artist-led organisations who form its Schools. They function simultaneously as subject, methodology, and forms of knowledge production that resist market imperatives and national categorisation, privileging shared learning and collective sustainability. "Schools" is one of several loose compositional motifs Kouoh devised to structure the exhibition, alongside Shrines, Procession, and Rest. These motifs operate as tonal registers rather than categories, shaping the visitor's experience through shifts in rhythm, density, and attention.