African and Afro-diasporic archives will be celebrated and reinterpreted as part of a major project launching later this year in Lagos, driven by the British-Nigerian artist Yinka Shonibare. The Re:assemblages symposium (4-5 November), taking place at Alliance Française de Lagos, will bring together artists, scholars and publishers “to collectively rethink African and Afro-diasporic archives as living, contested and future-shaping spaces,” says a statement.

The symposium is organised by the non-profit Guest Artists Space Foundation (G.A.S.) and Yinka Shonibare Foundation, which were both founded by Shonibare in 2019. The Lagos event is the second edition of Re: assemblages (2025-26), a two-year programme which “reimagines the role of archives in shaping African and global art histories”, the organisers add.

On December 9, 2025, G.A.S. Lagos hosted Artist CRIT, an informal art critique session facilitated by Sola Olulode. Designed for artists working across a range of mediums who have often felt underserved by traditional critique spaces, the session provided a supportive environment to share practice, exchange ideas, and receive constructive feedback. Recognising that many artists may have experienced limited opportunities for meaningful critique or spaces where feedback feels rigid or discouraging, Sola structured the session to prioritise openness, dialogue, and mutual respect.

This December, we are thrilled to host our final resident of the year, Swiss-Haitian multidisciplinary artist Sasha Huber, as she undertakes a four-week residency at G.A.S. Lagos.  Based in Helsinki and internationally recognised for her research-driven practice, Huber works across performance, video, photography, and collaborative intervention to explore the politics of memory, care, and belonging in relation to colonial histories. Central to her practice is the staple gun—a tool she reclaims from its violent associations to propose possibilities for repair, symbolically stitching together wounds and challenging contested narratives. Working with archival materials and layered processes, she creates reparative gestures that connect past and present. Huber is also widely known for her contribution to the Demounting Louis Agassiz campaign, which seeks to critically reassess the glaciologist’s racist legacy.

On December 4, 2025, G.A.S. Lagos hosted Body Memory, a meditative, movement-based workshop exploring how the body carries personal and collective memory. Led by Khaleb Brooks, the session invited participants to reflect on how histories are embodied, asking questions such as: Who gets to memorialise, and who is excluded? What do we hide from ourselves, and what unprocessed memories rest quietly in our bodies?

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.