We are excited to welcome Alexandra Mitiku, a Korean-Ethiopian artist and poet, to G.A.S. Lagos as our first resident this September. Based in Finland, Alexandra’s practice spans painting and installation, exploring fantasy and desire as ways of transforming oppressive systems, beginning with those that are internalised. At the heart of her practice lies 한 / Han, a Korean cultural sentiment of deep unresolved grief and rage.

Kevin-Ademola Sangosanya, an interdisciplinary artist, joins us at the G.A.S. Farm House in Ikiṣẹ for an eight-week residency as a recipient of the 2026 G.A.S. Fellowship Award. His practice spans painting, sculpture, drawing, installation, photography and research, through which he explores the sacred, the occult and the Black experience, with a particular interest in Yoruba spirituality and the concept of Àṣẹ in the Black Atlantic.

G.A.S. Foundation is thrilled to welcome Nifemi Ogunro, a Nigerian-American designer, woodworker and sculptor, and recipient of the G.A.S. Fellowship Award 2026, to the G.A.S. Farm House in Ikiṣẹ for an eight-week residency. Based in New York, Nifemi’s practice draws inspiration from photography, film, movement and her lived experiences to create functional sculpture. Her work explores wood as both a material and a mode of expression, considering all that it has to offer through making.

Join us at e-flux Screening Room on Thursday, September 24, 2026, for Planetary Afterimages: After The Short Century, a two-part event beginning at 5pm with a session reflecting on the zine produced for the convening. At 7pm, contextual remarks will introduce a screening of John Akomfrah’s Testament (1988), that will be followed by a conversation between Yusuf Hassan,  Keli Safia Maksud, and Serubiri Moses.

Multidisciplinary artist Ọmọlará Williams McCallister joins us at the G.A.S. Farm House in Ikise for an eight-week residency as a recipient of the 2026 G.A.S. Fellowship Award. Based in Miami, Ọmọlará’s multifaceted practice spans textiles, craft, research and ecology. In Ọmọlará’s practice, ọ uses fibre in various forms to handcraft works that explore systems of power, ọ’s place within these systems, and how they shape social identities. By creating materials from plants, ọ uses them to create sculpture, interactive and immersive installations, and social practice works.