• 'Machine Boys', 2024, Installation view, 60th Venice Biennale, Photo - Lorenzo_Palmieri
  • Film still – “Machine Boys”, 2024
  • 'Machine Boys', 2024, Installation view, 60th Venice Biennale, Photo - Lorenzo_Palmieri
  • Film still – “Machine Boys”, 2024
  • 'Machine Boys', 2024, Installation view, 60th Venice Biennale, Photo - Lorenzo_Palmieri
  • 'Wreath', 2024, Installation view, 60th Venice Biennale, Photo - Lorenzo_Palmieri
  • 'Wreath'(detail), 2024, Installation view, 60th Venice Biennale, Photo - Lorenzo_Palmieri
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Machine Boys
2024

Title:
Machine Boys

Year:
2024

Running time:
08:50 mins

Format:
HD digital film, colour with 5.1 surround sound

Single channel

Location:Lagos, Nigeria

Acknowledgements:

Director and Editor: Karimah Ashadu

Camera: Aigberadion Israel Ikhazuangbe

Sound Mixer: Joseph Eyo Edem

Colour Grader and Graphic Designer: Abdulmonim Twebti

Audio Post-Production: Jochen Jezussek

Production Coordinator: Japhet Philibus

Production Assistants: Ibrahim Babatunde Adebayo, Anthony Monday

Creative producer: Leonardo Bigazzi

Produced by Fondazione In Between Art Film

With the additional support of MOIN Filmförderung Hamburg Schleswig-Holstein

Co-producers: Golddust by Ashadu

With thanks to the bikers and crew

“Machine Boys” explores the informal economy of motorcycle taxis – colloquially known as “Okada”, in the mega-city of Lagos. Banned a few years ago due to the government’s inability to regulate the industry, the work portrays a hardy group of bikers who continue this illegal work, seeking to attain financial autonomy and independence. In Machine Boys Ashadu dwells on the consequences of this ban, meanwhile portraying the daily rituals and challenges faced by Okada riders.

They embody a particular branch of masculinity, and in this performance, a beautiful vulnerability emerges, questioning Nigeria’s patriarchal culture. Through this exploration of Nigerian patriarchal ideals, Ashadu relates its performance of masculinity to the vulnerability of a precarious class of workers.

Installed for the first time at the 60th Venice Biennale where Ashadu subsequently received the Silver Lion Prize, she projects the film in a purple room – inspired by one of the biker’s flashing headlights. “Wreath”, the brass sculpture exhibited in the space – an interwoven relief of tyres, evokes a medallion; denoting notions of commemoration and legitimacy.

For a full preview link, please contact studio@karimahashadu.com

 

 


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