Tunji Adeniyi-Jones joins G.A.S. Foundation in Lagos for a homecoming residency this month. Adeniyi-Jones is an accomplished painter born in London to Nigerian parents. He received a BFA from The Ruskin School of Art at Oxford University in 2014 and an MFA in painting and printmaking from Yale in 2017. His work explores his Yoruba ancestry, its folklore, and idolatry from the perspective of the African diaspora. 

G.A.S. Fellow, Tobi Onabolu begins a month-long spring residency at the G.A.S. Farmhouse in his ancestral hometown, Ijebu Ode. Onabolu's artistic practice focuses on well-being and explores the concept of vibrations and frequencies through the lens of mental health, intersecting with spirituality. During his residency, he hopes to contextualize his well-being practice within his paternal ancestral home and explore notions of vibrations within Yoruba culture. 

This week, G.A.S. Foundation welcomes Nate Agbetu, a UK-based curator, strategist and educator, who arrived at G.A.S. Lagos on 24th March. His residency serves to establish preliminary connections across the culture sector in Lagos whilst working on the launch of his new studio. During his time in the city, he plans to explore creative spaces and connect with local cultural practitioners to learn more about his home and producers working across the diaspora. Nate hopes to expand his network and understanding of Nigeria's arts and culture ecosystem while developing his next project, Public Powers.

In March Guest Artists Space Foundation welcomed artists Evan Ifekoya and Raymond Pinto to G.A.S. Lagos. The opportunities were initiated following a collaboration with Lagos Biennial who approached G.A.S. about hosting artists participating in the 2024 edition as a means of facilitating research, networking and project development opportunities ahead of their presentation at the bi-annual event currently scheduled for February 2024.

Water is Life, O!  marked the end of Evan Ifekoya's month-long Lagos residency at G.A.S. Foundation.⁠ Ifekoya's sonic offering featured a compositional cocktail of sounds from Ifekoya's residency; voiceovers from mundane and intentional encounters from across the city were masterfully layered with marine acoustics from Lagos' lagoons, various beaches across the city, Osun Oshogbo sacred grove, and the point of no return; Badagry's infamous former slave trade port. Voices wove in and out of the baseline sound, varying between melodic and cacophonous, punctuated only by clear, piercing, yet haunting tones from the artist's crystallophones.