October Gallery's Director of Special Projects Gerard Houghton will be in conversation with Sokari Douglas Camp CBE on the occasion of the artist's new solo exhibition Jonkonnu Masquerade.

Anthony Sattin’s much anticipated book is now published, and an official launch will take place at October Gallery on 26th May. The inspiration for the gallery's current exhibition Nomadic Resonance, this is a ground-breaking story of nomadic peoples on the move across history, from one of the major influences on travel writing today.

London Gallery Weekend, the free public event which celebrates art galleries in the UK capital, returns bigger than ever this year, with over 150 participating galleries announced for its new edition. October Gallery is open across the three days and from 10am until 8pm on Friday, 13th May. The gallery will be open on Saturday, 11am to 6pm and on Sunday, 11am to 5pm.

For London Gallery Weekend, October Gallery is pleased to announce the first launch in the UK of El Anatsui. The Reinvention of Sculpture by Okwui Enwezor and Chika Okeke-Agulu on Friday, 13th May, 6-8 pm, with a presentation by co-author Chika Okeke-Agulu taking place at 7 pm. The launch celebrates the work of El Anatsui and coincides with the gallery’s exhibition Nomadic Resonance, that includes a new large-scale work by the artist. Chika Okeke-Agulu will be available to sign copies of the book after the presentation.

Written by two acclaimed scholars Okwui Enwezor and Chika Okeke-Agulu, El Anatsui. The Reinvention of Sculpture, is the product of more than three decades of research, a comprehensive, incisive and authoritative account of the work of El Anatsui, the world-renowned, Ghanaian-born sculptor.

Published by Damiani, this book shows why his early wood reliefs and terracottas, and the later monumental metal sculptures, exemplify an innovative, critical search for alternative models of art-making. El Anatsui: The Reinvention of Sculpture places Anatsui’s work within a broader historical context, specifically the postcolonial modernism of mid-twentieth-century African artists and writers, the cultural ferment of post-independence Ghana, as well as within the intellectual environment of the 1970s Nsukka School.

By recovering these histories, and subjecting his work to vigorous analysis, the authors show how and why Anatsui became one of the most formidable sculptors of our time.