Join us at G.A.S. Lagos on March 12th, 2026, for AgroArt: (Agri)cultural Production, a presentation of research and reflections on the intersections of art, technology, and agricultural cultivation by current resident Ryan Tenney. The event will begin with an overview of his residency, including his immersion in building relationships with local farmers and plants at the G.A.S. Farm House in Ikiṣẹ. During this time, he explored sustainable practices and developed paintings that incorporate solar panels and microcontrollers alongside other experimental prototypes.

The AAL Lab and Affiliates Network brings together Africa-based libraries, archival initiatives, independent publishers, and global institutions that support and champion this work. This page highlights the members who form the network, connecting across locations and practices to share resources, knowledge, and collaboration. Each entry includes the member or organization, their location, network type, and key contact or representative.

On 22nd January 2026, as part of her ongoing residency at G.A.S., Lagos-based multidisciplinary artist Fiyin Koko facilitated a community-based workshop for female students from St. John’s Primary School, Ikiṣẹ. The session introduced them to the joy of play and creativity, offering a hands-on opportunity to explore kite-making and experiment with design. The workshop formed part of Fiyin’s five-week residency, during which she has been based primarily at the G.A.S. Farm House in Ikiṣẹ. Her research explores play, memory, and the lived experiences of women today, translating both personal and shared stories into tangible, sensory experiences through sculpture and other media.

From June to November 2025, The Short Century Intensive jointly presented by Guest Artists Space (G.A.S.) Foundation and Yinka Shonibare Foundation (Y.S.F.) brought together U.S. fellows Pujan Karambeigi, Miatta Kawinzi, sadé powell, Cosmo Whyte, and Najha Zigbi-Johnson to explore the compressed 20th century as a formative, in-between space. Across artistic registers, they engaged with archives, excavated overlooked genealogies, and rehearsed speculative modes of citation and annotation, tracing new networks, collaborations, and Afro-diasporic relations. The intensive reimagined and activated Okwui Enwezor’s 2001–2002 exhibition The Short Century: Independence and Liberation Movements in Africa, 1945–1994, raising key questions: What becomes possible when African political and aesthetic thought is taken on its own terms—not as an extension, supplement, or proxy? And how might new forms of relation across geographies arise from a shared commitment to difference, rather than a desire to collapse it?