Abstract
Adopting Marianne Hirsch’s definition of postmemory, this article considers Jelili Atiku’s 'In The Red' (2008–18), a series of performances that serves to commemorate the lives lost in the Nigerian Civil War and mass violence on a global scale. It evaluates the series in relation to the wider field of transnational memory art, mourning and the aesthetics of lament, revealing the various strategies the artist has utilised in his reanimation of violent histories.
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