This essay is a review of art historian Chika Okeke-Agulu's Postcolonial Modernism: Art and Decolonization in Twentieth-Century Nigeria (Duke University Press, 2015). The book offers a chronicle of artistic theories, practices, and institutions during Nigeria's independence years (1957–67) amid the historical frames of Third World liberation, African decolonization, and Cold War realpolitik. The essay explores in particular how Postcolonial Modernism revisits and explores the thematic of “national culture”—the concept presented by Frantz Fanon in 1959, with long-lasting impact on theories of postcolonial arts—in the (decentralized) Nigerian art world, with a focus on the synthetic studio practices of members of the Zaria Art Society. Fanon's “two-fold becoming” model of national culture, which implies catalyzing links to international liberation movements, impacts not only Okeke-Agulu's narrative of a generational opposition to the preceding cultural paradigms of Negritude, but also—the essay argues—the writing of global modernist history at-large.

中文翻译：

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全球双重转型

本文是对艺术史学家Chika Okeke-Agulu的《后殖民现代主义：二十世纪尼日利亚的艺术与非殖民化》的评论（杜克大学出版社，2015年）。这本书提供了尼日利亚独立时期（1957-67年）的艺术理论，实践和机构的历史记录，其中包括第三世界解放，非洲非殖民化和冷战现实政治的历史框架。这篇文章特别探讨了后殖民现代主义如何重新审视并探讨了“民族文化”的主题（这是弗朗茨·范农1959年提出的概念，对后殖民艺术理论的长期影响）在（分散的）尼日利亚艺术世界中的运用。专注于Zaria Art Society成员的综合工作室实践。法农的民族文化“双重成败”模式，