© 2019 Jebila Okongwu. All rights reserved.

Born London, UK

EDUCATION

Post-graduate Diploma in Fine Art (Painting), Victorian College of the Arts, University of Melbourne, Australia

Bachelor of Arts (Visual Art), Monash University, Melbourne, Australia

RESIDENCIES

 

2018 International Guest Artist Residency, Villa Romana, Florence, Italy

2017 Art Omi, Omi International Arts Centre, Ghent, NY, USA

SOLO EXHIBITIONS

2019 Jebila OkongwuBaert Gallery, Los Angeles, USA

 

2019 Baert Gallery, UNTITLED, San Francisco, USA

 

2018 Schengen (with Délio Jasse and Anna Raimondo), Villa Romana, curated by Justin Randolph Thompson and Janine Gaelle, Florence, Italy

2018 Manhattan Office, Art in Buildings, 125 Maiden Lane, curated by Jennie Lamensdorf, New York City, USA

2017 The Legitimacy of Brutality, Baert Gallery, Los Angeles, USA

2015 Patterns of Trade (with Ludovica Gioscia), Wunderkammer, Galleria Riccardo Crespi, Milan, Italy

2013 River Crossing, Galleria Lorcan O’Neill, Rome, Italy

2013 Nina & Stevie, MACRO Pelanda, Rome, Italy

2012 The Hawker (performance), Roma Contemporary 5, MACRO Museum of Contemporary Art, Rome, Italy

2012 The Other Art Fair, Ambika, London, UK

2012 Banana Republic, Gallery Barry Keldoulis, Sydney, Australia

2001 Synthetic Abstractions, Rialto Project Space, Rome, Italy

1999 Jebila Wolfe-Okongwu: Inedito, Futuro Associazione Culturale, Rome, Italy

SELECTED GROUP EXHIBITIONS

2019 Color Is an Act of Reason, Baert Gallery, Los Angeles, USA

2017 Liquid State & Unmasked, Axis Gallery, New York City, USA

2016 ToastAtelierhaus Salzamt, Linz, Austria

2016 Qui e Altrove (performance), curated by Valentina Gioia Levy, Villa  Ada, Rome, Italy

2015 1:54 Contemporary African Art Fair, Axis Gallery, Somerset House, London, UK

2015 Nero Su Bianco, curated by Robert Storr, Lyle Ashton Harris and Peter Benson Miller, The American Academy in Rome, Italy

 

2014 The Go Between: A Selection of International Emerging Artists from the Ernesto Esposito Collection, curated by Eugenio Viola, Museum of Capodimonte, Naples, Italy

 

2013 Un Altro Natale, Casa della Letteratura, Rome, Italy

2012 African & African-Caribbean Design Diaspora: Untold Gold, The Bargehouse, London, UK

 

2012 Savorr VIII, Samson and Hercules House, Norwich, UK

2011 Fabula in Art 2011, Museum San Salvatore in Lauro, Rome, Italy

2010 Passion is the difference, LipanjePuntin artecontemporanea, Trieste, Italy

 

2005 Five Painters, Critical Mass, Brooklyn, New York, USA

 

1999 Simbiosi, Museum of Contemporary Art, Gallese, Italy

 

1999 12 Artisti: Collettiva d’Arte Contemporanea, Extra, Rome, Italy

 

1999 Riot, Vernice Associazione Culturale, Mattatoio di Testaccio, Rome, Italy

 

PUBLICATIONS & PRESS

2019 Los Angeles Times, Banana Boxes, BDSM gear and the intended message of artist Jebila Okongwu, Sharon Mizota, Tuesday 15th October

 

2019 100 Sculptors of Tomorrow, Kurt Beers, Thames & Hudson, London, ISBN 0500021473, 9780500021477

 

2015 ArtReview, Black On White?, Mike Watson, vol.67, no. 6, September, p.51

 

2015 Nero su Bianco, Exhibition catalogue, Nero, Rome, ISBN 9788897503613

 

2014 The Go Between, A Selection of International Emerging Artists from the Ernesto Esposito Collection, Exhibition catalogue, Cura Books, Rome, ISBN 9788897889229

 

2013 Corriere della Sera, Il Natale dell’arte giovane, Lauretta Colonnelli, Wednesday 18th December, No. 299, p.17

 

2013 La Repubblica, Wolfe-Okongwu e Sahib opere d’arte cosmopolite, Linda de Sanctis, Tuesday 23rd April

 

2012 Art Monthly Australia, Rome is Home but the World is Wider, Jan Jones, Issue 252 August, p. 48-50

 

2012 The Sydney Morning Herald, 24 Hours The Arts Diary, Thursday February 16th, No. 54403, p.14

 

2011 Fabula in Art, Text Jonathan Turner, Il Cigno GG Edizioni, Roma, p.138-139, ISBN-9788878312654

 

2010 Nigerian Compass, Jebila: Home from Rome with art, Chuka Nnabuife, vol. 3, no. 802, Friday August 6th, p.28-29

 

1999 ARTnews, Jebila Wolfe-Okongwu, Review of Exhibition at Futuro Rome, Jonathan Turner, vol. 98, no.9, October, p.202