THANKSTHANKSAFRICA (2010-2013) was initiated as an artist project and experiment and was made up of fictitious (albeit discursively robust idea of) 'African Art artist'. During its life-span (2010-2013), THANKSTHANKSAFRICA was independently invited to participate in video and photo-based installations by art-world personalities who later rescinded their invitations based on supposed lack of 'authenticity' (as 'Black' 'Africans' - after a rather fixed, nativistic notion of 'race'). With very little resources or support, THANKSTHANKSAFRICA went on to carry out projects by proxy internationally. 

 In rejection of the established professionalistic syncophancy that abounds the world of 'African Art artist', TTA carried out its investigations on wholly irreverent, not made for career 'action actions', plumbing the unfunded, unknown area of south vs south and further  unsettling the notion of 'African Art artist' by including social media and use of language play. At the time of its now defunct online presence on social media, THANKSTHANKSAFRICA came to the notice of certain so-called 'African Artists' essentialists, these well-funded, overly applauded-by-the-establisment fucks across that continent who ply 'Africa' as their own essensio-racial poverty claim while sipping champagne. These ones saw THANKSTHANKSAFRICA's installations and posters, including the political tenor in the posters as stuff to simply copy. TTA's past posters were the verbatim copies to make derivative anti-Mugabe posters or install 'African biennial installation' by wine sipping, white-shirt wearing pansies. Childhood years of public physical assaults and ensuing verbal abuse as children of African mothers with missing foreigner fathers, the violence of that onset rejection, to look upon the vapidity of parasites and global art syncophants borrowing verbatim for their clichéd 'art' stuff THANKSTHANKSAFRICA invented, manifested and stole from LIFE itself? Their claims, according to them, had 'more' authenticity based solely on the narrowest position of that dastard notion, 'race'.

  During its life time, THANKSTHANKSAFRICA was interested in the nature of certain established relations alongside the question of difference. How THANKSTHANKSAFRICA applied ambiguity and anonymity to carry out its artistic and/or political investigations, including its play on 'hidden' authenticity, reveals and was intended as commentary on the problem faced by artists who find themselves unfixed in the conventional idea of nationality and place.

THANKSTHANKSAFRICA was concerned with social and political issues concerning Africa and performed a range of inquiry into the social and the political, from acting as a pseudo investigative reporter on online African News outlets under various 'TTA members' (and thereby corrupting these spaces), to art and video installations and street and war poetry projects (here, TTA inserted war poetry into glossy magazines), including the spread of what TTA termed 'naijacentric posters' for its project TITs. TTA also carried out a free books giving project across West Africa (Reader in Residence or RIR, Nigeria and Ghana) and home giving, trust-based project, 'free home residency' (or XIR: Person (x) In Residence) in which THANKSTHANKSAFRICA gave up own home/apartment.

THANKSTHANKSAFRICA is now permanently closed and is no more.

THANKSTHANKSAFRICA thanks supporters of its past projects, in particular FLACC (Belgium) and the folks at FOCUS 10 Basel, including the council council for travel funding the airfare to West Africa. 
"In the context of an increasingly multicultural and multi-ethnic world, as the drive in art remains deeply racial and/or tribal, the artist adopts strategies as a producer of the Real and proposes themselves, or are themselves presented, tacitly or not, as 'more real', more 'ethnically' connected. The problem of these prejudices is not so much how they affect those established as members of the opposite group, but rather how much we punish those whose immediate place we feel unable to place. These grey areas dwellers bear the brunt of the oppositions. THANKSTHANKSAFRICA claim of 'African-born and raised' in light of its self-declaration as fictitious, non-existent and of mixed or specious heritage become part of the effects of the Real. THANKSTHANKSAFRICA asks what is the real if not production of its effects, what is the authentic if not made-up?" -THANKSTHANKSAFRICA
****No copy or file of images or prints made during the TTA experiment and installations, in particular the Lagos photo and/or its organizations or associates, is permitted to be saved or printed or sold, nor is any valid for sale, whether in the past or at any other time. All images purportedly sold under the thanksthanksafrica name or any artist name in connection with TTA by the mentioned organization, Lagos photo and/or its organizations or associates, are null and void and considered theft and misuse. Under no circumstances were third parties given the rights to print or sell or save or share files or images from TTA and its past projects. All prints of TTA are rubbish and disallowed from private or commercial ownership or possession or use, whether by claims of sale or gift or otherwise since such claims are false and null and void. All thanksthanksafrica files in whose ever possession or email or data storage were intended for deletion, whether spoken or explicitly expressed or not. **** 

A Selection of past projects as THANKSTHANKSAFRICA: