Oluneye Oluwole — an accomplished international bestselling author, enterprise development specialist, keynote speaker, storyteller and communication expert. Founder/President of Story Chest Group Inc., One Global and African Hub International.
Many attribute the "art miracle" of African contemporary art to the pandemic, citing increased attention from major collectors to local markets. However, this perspective overlooks significant precedents: the first major auction of contemporary art in Nigeria in 2007, the establishment of ART X Lagos nine years ago, and the emergence of the renowned 1:54 fair in London. In your view, what factors have been pivotal in elevating African contemporary art to global prominence?
OO: African contemporary art's spotlight on the global stage isn't just a recent phenomenon sparked by the pandemic. There's a rich tapestry of events and milestones that have been instrumental long before, such as the major auction in Nigeria back in 2007, the establishment of ART X Lagos, and the renowned 1:54 fair in London. These were pivotal, yes, but the roots go deeper. If we talk about figures like Ben Enwonwu, we see an artist who not only captured the essence of Nigeria's journey through colonialism to independence but also managed to resonate with audiences far beyond Africa's shores. His work wasn't just art; it was a dialogue across cultures, across times. So, when we discuss the ascension of African contemporary art, it's crucial to remember it's not a sudden rise but a long, enduring journey. The diversity, the talent, and the sheer range of expressions coming out of Africa are finally getting the recognition they've always deserved. From artists exploring themes deeply embedded in Africa's rich history, culture, and societal nuances to digital platforms giving these voices a global stage, it's a confluence of many factors that have led us here.
Nigeria is often credited with playing a pivotal role in the advancement of African contemporary art, hosting the Lagos Biennial, LagosPhoto Festival, ART X Lagos fair, and initiating the artist residency program Arthouse The Space by Arthouse Contemporary auction house. What do you believe has positioned Nigeria as a leader in this cultural renaissance within the region?
OO: Nigeria's emergence as a frontrunner in Africa's cultural renaissance isn't accidental. It's the culmination of a rich artistic heritage, a dynamic cultural scene, and a strong entrepreneurial spirit. Imagine a country with over 250 ethnic groups, each with its own unique culture, language, and art forms. This diversity is a goldmine for creativity. Nigerian artists, drawing from this wellspring of cultural wealth, have continuously pushed the boundaries of expression. Add to this, is the vibrant art communities in cities like Lagos and Abuja, thriving art institutions, and the digital age's connectivity, and you have a potent mix that propels Nigeria to the forefront. It's about leveraging this heritage, the thriving local scenes, and global platforms to showcase the multifaceted beauty of Nigerian art. The entrepreneurial drive within the Nigerian art community is also unmatched, always finding new ways to engage, innovate, and express. This is why Nigeria stands out — it's a beacon of cultural richness and innovation.
Arthouse Contemporary, Nigeria's leading auction house, was founded in 2007 by a woman art collector, Kavita Chellaram. How do you perceive the impact of female leadership on the Nigerian creative economy?
OO: The impact of female leadership in shaping Nigeria's creative economy is nothing short of transformative. Women like Kavita Chellaram, Tokini Peterside, and Nike Okundaye have not only created platforms for artists to shine but have also redefined what's possible in the art world. Their vision, dedication, and commitment to elevating African art have been pivotal in bringing Nigerian creativity to a global audience. They exemplify the strength, innovation, and entrepreneurial spirit that is driving the Nigerian art scene forward. Through their efforts, they're not just showcasing art; they're empowering artists, especially women and underrepresented groups, to find their voice and space in the global art narrative. It's a testament to the power of female leadership in breaking barriers and creating new opportunities for artistic expression and cultural exchange.
The intersection of Art and Technology is increasingly noticeable, with platforms like ARTSPLIT, a popular online auction and marketplace for art and music among international collectors. There's a growing trend of online marketplaces that amalgamate high art, decorative arts, and fashion into singular platforms. Do you consider this blend of Creative Tech as the future direction the market is seeking?
OO: The fusion of art and technology is indeed shaping up to be the future of the art market, especially for African contemporary art. Platforms like ARTSPLIT are revolutionizing how we interact with, own, and appreciate art, making it more accessible than ever before. This blend of creative tech is not just about breaking down geographical barriers; it's about opening up a whole new realm of possibilities for artists and collectors alike. The digital age has allowed African artists to reach audiences that were previously unimaginable, showcasing their work on a global stage without leaving their studios. From online galleries to virtual exhibitions and NFTs, technology is enabling a democratization of art access and ownership, expanding the market and introducing a diversity of artistic expressions to the world. It's a thrilling time to be part of the art world, as we witness the boundaries between art, technology, and culture blur, creating new spaces for innovation and creativity.
Numerous startups fostering the African creative economy are founded by expatriates residing in Europe. In your experience, where is the most opportune setting for a founder to secure funding and community support for such initiatives?
OO: For startups in the African creative economy, especially those founded by expatriates or diaspora members, there's a wealth of opportunities for securing funding and community support. It's a rich ecosystem comprising investment networks, venture capital firms focused on Africa, government grants, and international development funds, all looking to nurture and grow the creative sector. The key is in leveraging these resources, understanding the unique value African creative startups bring, and tapping into the networks that can propel these ventures forward. Whether it's through partnerships with private institutions, collaborations with cultural hubs, or engaging with the vibrant African diaspora communities, the avenues for support are diverse and expansive. It's about connecting the dots between the creative vision, the entrepreneurial drive, and the resources that can turn these dreams into reality.
Given your personal experience living in Canada and your efforts to support the African creative economy, how do you envision its ideal progression? Who, in your opinion, should spearhead this development and why?
OO: Reflecting on my journey from Africa to Canada and my deep involvement in supporting the African creative economy, I see a bright future shaped by collaborative efforts, innovation, and a global community that values and celebrates African creativity. My personal experiences, living and working in Africa, then moving to Canada, have given me a unique perspective on the challenges and opportunities that lie within the creative sector. It's a perspective that combines the resilience and vibrancy of African creativity with the inclusivity and diversity that global platforms offer.
I envision an African creative economy that thrives on the global stage, where African artists, entrepreneurs, and creatives are not only recognized but also have the support and infrastructure to flourish. It's a vision where the digital transformation of the arts plays a crucial role, breaking down barriers and creating a more accessible and democratic space for art to be experienced and appreciated.
Leading this development shouldn't fall on the shoulders of any single individual. It requires a collective effort — artists, policymakers, entrepreneurs, and the diaspora all playing their part. However, I believe those with firsthand experience of the unique challenges and opportunities of the African creative landscape, combined with a global outlook, are particularly well-placed to spearhead these initiatives. Their ability to navigate different cultural and business environments, to bring together diverse perspectives, and to leverage technology for greater reach and impact makes them invaluable leaders in this journey.
Ultimately, the progression of the African creative economy should aim not just for economic growth, but for the empowerment of its creators and communities. It's about creating a sustainable ecosystem that supports creativity, innovation, and cultural exchange, ensuring that the voices of African creatives are heard and their work celebrated worldwide. This isn't just about showcasing African art; it's about building bridges, fostering understanding, and creating a more inclusive and vibrant global creative community.
The interview was first published in the Fuelarts Art+Tech Startups Report 2024, which can be downloaded here