![](https://freight.cargo.site/t/original/i/97dbec1112dd1a27e4ebb0d5ae73aba556d4a555e63688cb173466812bf3932f/Still-from-the-names_Onyeka-Igwe-1.jpg)
![](https://freight.cargo.site/t/original/i/fc41a41a0cefc48e64a3d217e9a46b687aaa791dd7c210617d8947e19d714c37/Still-from-the-names_3_Onyeka-Igwe.jpg)
![](https://freight.cargo.site/t/original/i/62f5a83d978bf82f562110610527daee5e5be105ed97ffdb8f709098997c3f05/Still-from-the-names_2_Onyeka-Igwe.jpg)
the names have changed, including my own and truths have been altered (2019)
This is a story of the artist’s grandfather, the story of the ‘land’ and the story of an encounter with Nigeria—retold at a single point in time, in a single place. The artist is trying to tell a truth in as many ways as possible. So the names have changed tell us the same story in four different ways: a folktale of two brothers rendered in the broad, unmodulated strokes of colonial British moving images; a Nollywood TV series, on VHS, based on the first published Igbo novel; a story of the family patriarch, passed down through generations; and the diary entries from the artist’s first solo visit to her family’s hometown.
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All images are still from the names have changed, including my own and truths have been altered (2019). Courtesy of the artist.