Hostname: page-component-76fb5796d-45l2p Total loading time: 0 Render date: 2024-04-25T11:20:50.009Z Has data issue: false hasContentIssue false

Lagos Art World: The Emergence of an Artistic Hub on the Global Art Periphery

Published online by Cambridge University Press:  27 May 2019

Abstract:

The global geography of art has changed greatly in recent years. Whereas global art hubs were formerly found only in the West, they now exist in locations all over the world, including Africa. Though some art worlds in Asia and Latin America have been studied in recent times, there is insufficient empirical data on art worlds in Africa. This is a study of the Lagos art world, which shows how an “art system,” with all of its attendant structures and agents, has emerged in the city of Lagos, Nigeria, in the last few years. Lagos reflects the dynamics of globalization and is building up the art infrastructure and the critical mass needed for a sustainable art world: an ambitious and fast-growing group of young local collectors, an art fair, an international photography festival, regular art auctions, new art galleries, historical and critical publications, a university art museum, symposiums, art foundations, residencies, and competitions. Lagos is becoming not only a “global city,” but also a “global art hub.”

Résumé:

La géographie mondiale de l’art a considérablement évolué ces dernières années. Les centres artistiques mondiaux ne se trouvent plus seulement en Occident, ils existent maintenant dans d’autres régions, notamment en Afrique. Certains mondes de l’art en Asie et en Amérique Latine ont été étudiés récemment, toutefois les données empiriques disponibles sur ceux d’Afrique sont insuffisantes. Voici une étude du monde de l’art de Lagos. Elle démontre comment a émergé dans la ville de Lagos, au Nigéria, au cours de ces dernières années, un « système de l’art, » avec ses structures et ses agents. La ville reflète la dynamique de la mondialisation. Elle a produit une infrastructure artistique et une masse critique nécessaire pour créer un monde de l’art durable: un mouvement de jeunes collectionneurs ambitieux, une foire d’art, un festival international de la photographie, de fréquentes ventes aux enchères, de nouvelles galeries d’art, des publications historiques et critiques d’art, un musée d’art universitaire, des symposiums, des fondations artistiques, de résidences et concours pour artistes. Lagos est en voie de devenir non seulement une « ville globale », mais également un “centre mondial de l’art.”

Resumo:

A geografia global da arte sofreu grandes alterações nos últimos anos. Os centros artísticos globais já não se encontram apenas no Ocidente, e hoje é possível encontrá-los noutros lugares, nomeadamente em África. Apesar de haver estudos recentes sobre alguns mundos da arte na Ásia e na América Latina, não dispomos de suficientes dados empíricos relativos aos mundos da arte em África. O presente estudo dedica-se ao mundo da arte em Lagos (Nigéria). Aqui se demonstra que, nos últimos anos, emergiu em Lagos um “sistema de arte,” com as suas estruturas próprias e os seus agentes. Nesta cidade, que reflete as dinâmicas da globalização, está em curso a criação de infraestruturas da arte e da massa crítica necessária a um mundo artístico sustentável: um conjunto ambicioso, e em rápida expansão, de jovens colecionadores locais, uma feira de arte, um festival internacional de fotografia, leilões regulares de obras de arte, novas galerias de arte, publicações de história e de crítica de arte, um museu de arte universitário, simpósios, fundações de arte, residências e concursos para artistas. Lagos está a tornar-se não só uma “cidade global,” como também um “centro de arte global.”

Type
Article
Copyright
Copyright © African Studies Association 2019 

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Anatsui, El. 2001. “Introduction.” In New Energies [exhibition catalogue]. Lagos: Mydrim Gallery.Google Scholar
Aniakor, Chike. 2005. “Art, Mind and Meaning: Revisiting the Issues of Creative Production.” In Reflective Essays on Art and Art History, 6185. Enugu, Nigeria: Pan-African Circle of Artist Press.Google Scholar
Appadurai, Arjun. 1996. Modernity at Large: Cultural Dimensions of Globalization. Minneapolis: University of Minnesota Press.Google Scholar
Becker, Howard. 1982. Art Worlds. Berkeley: University of California Press.Google Scholar
Belting, Hans, and Buddensieg, Andrea. (2013). “From Art World to Art Worlds.” In The Global Contemporary and the Rise of New Art Worlds, edited by Belting, Hans, Buddensieg, Andrea, and Weibel, Peter, 2831. Karlsruhe, Germany: ZKM/Center for Art and Media.Google Scholar
Bourdieu, Pierre. 1993. The Field of Cultural Production: Essays on Art and Literature. Cambridge, U.K.: Blackwell.Google Scholar
Castellote, Jess. 2012. "Collectors and their Collections." In Contemporary Nigerian Art in Lagos Private Collections: New Trees in an Old Forest, edited by Castellote, Jess, 5779. Ibadan, Nigeria: Bookcraft.Google Scholar
Castellote, Jess. 2018. Nigeria Art Market Report 2017. Lagos: Foundation for Contemporary and Modern Visual Arts. http://fcmva.org.Google Scholar
Castells, Manuel. 2009. The Rise of the Network Society. 2nd edition Malden, Mass.: Wiley Blackwell.CrossRefGoogle Scholar
Centre for Contemporary Art. 2008. “Public Programmes.” CCA Lagos Newsletter 1 (2).Google Scholar
Chellaram, Kavita. 2016. “The Affordable Art Auction.” The Affordable Art Auction 6. Lagos: Arthouse Contemporary.Google Scholar
Clark, John. 2013. “The Endogenous-Exogenous Interface in Globalism: The Case of China and Thailand.” In The Global Contemporary and the Rise of New Art Worlds, edited by Belting, Hans, Buddensieg, Andrea, and Weibel, Peter, 193201. Karlsruhe, Germany: ZKM/Center for Art and Media.Google Scholar
DeLanda, Manuel. 2006. A New Philosophy of Society: Assemblage Theory and Social Complexity. London: Continuum.Google Scholar
Depth of Field. 2003. “Lagos Inside” [exhibition catalogue]. Lagos: French Cultural Centre.Google Scholar
Enwezor, Okwui. 1998. “Dak’Art: The 4th Dakar Biennale.” https://frieze.com.Google Scholar
Enwezor, Okwui. 2002. “Cities Under Siege: Four African Cities, Freetown, Kinshasa, Johannesburg, Lagos.” http://www.academia.edu.Google Scholar
Enwonwu, Oliver. 2013. “The Rising Value of Nigerian Art.” Omenka 1 (1): 2830.Google Scholar
Euromonitor International. 2017. “Lagos City Review.” http://www.euromonitor.com.Google Scholar
Ferguson, James. 2006. Global Shadows: Africa in the Neoliberal World. Durham: Duke University Press.CrossRefGoogle Scholar
Fillitz, Thomas. 2016. “The Biennial of Dakar and South-South Circulations.” Artl@Bulletin 5 (2): 5769.Google Scholar
GaWC, . 2018. “The World According to GaWC.” https://www.Iboro.ac.uk.Google Scholar
Giannini, Sara. 2013. “Global Vocabulary.” In The Global Contemporary and the Rise of New Art Worlds, edited by Belting, Hans, Buddensieg, Andrea, and Weibel, Peter, 54. Karlsruhe, Germany: ZKM/Center for Art and Media.Google Scholar
Grabski, Joanna. 2009. “Urban Claims and Visual Sources in the Making of Dakar’s Art World City.” Art Journal 68 (1): 623.CrossRefGoogle Scholar
Hall, S. 2000. “Maps of Emergency: Fault Lines and Tectonic Plates.” In Contemporary African Art and Shifting Landscapes, Tawadros, Gilane and Campbell, Sarah, 3141. London: Institute of International Visual Arts in collaboration with the Forum for African Arts and the Prince Claus Fund.Google Scholar
Harney, Elizabeth. 2010. “The Densities of Modernism.” South Atlantic Quarterly 109 (3): 475503.CrossRefGoogle Scholar
Heinich, Nathalie. 2004. La sociologie de l’art. Paris: La Découverte.Google Scholar
Ikpakronyi, Simon. 2008. “Development of Private Galleries of Art in Nigeria.” In International ArtExpo Nigeria, 1–19. Abuja: National Gallery of Art.Google Scholar
Ikpakronyi, Simon. 2010. “Visual Art Promotion and Patronage in Nigeria.” In International ArtExpo Nigeria, 1–15. Abuja: National Gallery of Art.Google Scholar
Ikwuemesi, Krydz. 1999. “There are No Installations Here.” African Quarterly on the Arts 2 (4): 710.Google Scholar
Jacobs, Jane. 1969. The Economy of Cities. New York: Random House.Google Scholar
jegede, dele. 2012. “Art, Currency, and Contemporaneity in Nigeria.” In Contemporary Nigerian Art in Lagos Private Collections: New Trees in an Old Forest, edited by Castellote, Jess, 40–52. Ibadan: Bookcraft.Google Scholar
Kasfir, Sidney. 2008. “The (Dis)placement of National Art in a Transnational Artworld.” African Arts 41 (3): 10.CrossRefGoogle Scholar
Kearney, A. T. 2018. “2018 Global Cities Report.” https://www.atkearney.com.Google Scholar
Kinsman, Houghton. 2015. “Expanding Intercultural Dialogue in Nigeria.” Another Africa. http://www.anotherafrica.net.Google Scholar
Konaté, Yacouba. 2010. “The Invention of the Dakar Biennial.” In The Biennial Reader, edited by Filipovic, Elena, van Hal, Marieke, and Øvstebø, Solveig, 104–121. Ostfildern: Hatje Cantz.Google Scholar
Luhmann, Niklas. 2000. Art as a Social System. Stanford: Stanford University Press.Google Scholar
Mitter, Siddhartha. 2019. “Lagos, City of Hustle, builds an Art Ecosystem.” The New York Times. https://www.nytimes.com.Google Scholar
Myers, Garth. 2018. “The Africa Problem of Global Urban Theory: Re-conceptualising Planetary Urbanisation, International Development Policy.” Revue internationale de politique de développement 10: 231–53.CrossRefGoogle Scholar
Nye, Joseph. 2002. “Globalism Versus Globalization.” http://www.theglobalist.com.Google Scholar
Nzegwu, Nkiru. 1999. “Introduction: Contemporary Nigerian Art: Euphonizing the Art Historical Voice.” In Contemporary Textures: Multidimensionality in Nigerian Art, edited by Nzegwu, Nkiru, 1–39. Binghamton, NY: International Society for the Study of Africa.Google Scholar
Nzewi, Ugochukwu-Smooth C. 2013. “The Contemporary Present and Modernist Past in Postcolonial African Art.” World Art 3 (2): 211–34.CrossRefGoogle Scholar
Ogbechie, , Okwunodu, Sylvester. 2009. “Osahenye Kainebi and the Conundrum of Contemporary Painting.” In Trash-ing [exhibition catalogue]. Lagos: Centre for Contemporary Art.Google Scholar
Oguibe, Olu. 1999/2004. “Connectivity and the Fate of the Unconnected.” In The Culture Game, 169–77. Minneapolis: University of Minnesota Press.Google Scholar
Okwuosa, Tobenna. 2012. “The Contemporary Art Market in Lagos." In Contemporary Nigerian Art in Lagos Private Collections: New Trees in an Old Forest, edited by Castellote, Jess, 81–91. Ibadan: Bookcraft.Google Scholar
Oloidi, Ola. 2012. “From Waste to Art: Oshinowo’s New Painting Order.” In Silhouette [exhibition catalogue]. Lagos: Kolade Oshinowo Gallery.Google Scholar
Onuzulike, Ozioma. 2006. “Presenting the ‘Unpresentable’: Bright Eke’s Installation Art.” In Environs-Scope: Installations [exhibition catalogue]. Lagos: Goethe-Institut.Google Scholar
Oyelola, Pat. 2003. “Boosting the Image: Art Galleries and Art Journal Publishing in Nigeria.” In Modern History of Visual Art in Southern Nigeria, compiled by Fourchard, Laurent, 55–65. Ibadan: French Institute for Research in Africa, University of Ibadan.Google Scholar
Quemin, Alain. 2006. “Globalization and Mixing in the Visual Arts.” International Sociology 21 (4): 522–50.CrossRefGoogle Scholar
Sassen, Saskia. 1991. The Global City: New York, London, Tokyo. Princeton, New Jersey: Princeton University Press.Google Scholar
Silva, Bisi. 2009. “The New Face of Contemporary Nigerian Painting?” Next on Sunday, September 20.Google Scholar
Soyinka, Wole. 2006. “Art, Tradition and Modernity.” Paper presented at the Third Distinguished Annual Lecture of the Ben Enwonwu Foundation, Lagos, May 2.Google Scholar
Spiesse, Emmanuelle. 2003. “Lagos: A City Under Siege (The Works and Words of Lagos Artists).” In Modern History of Visual Art in Southern Nigeria, compiled by Fourchard, Laurent, 25–44. Ibadan: French Institute for Research in Africa, University of Ibadan.Google Scholar
Taylor, Peter James. 2001. “Specification of the World City Network.” Geographical Analysis 33 (2): 181–94.10.1111/j.1538-4632.2001.tb00443.xCrossRefGoogle Scholar
Taylor, Peter James. 2005. “New Political Geographies: Global Civil Society and Global Governance through World City Networks.” Political Geography 24 (6):703–30.CrossRefGoogle Scholar
Taylor, Peter James, and Derudder, Ben. 2016. World City Network: A Global Urban Analysis. London: Routledge.Google Scholar
Ugiomoh, Frank. 2007. “Dak’art 2006: Yawing Cultural Gaps in Fusing Landscapes.” Third Text 21 (1): 91101.Google Scholar
Uwaezuoke, Okechukwu. 2001. “A Picturesque Swathe of Inertia.” The Comet, July 3.Google Scholar
Vogel, Susan Mullin. 2012. El Anatsui: Art and Life. Munich: Prestel Verlag.Google Scholar
While, Aidan. 2003. “Locating Art Worlds: London and the Making of Young British Art.” Area 35 (3): 251–63.CrossRefGoogle Scholar
World Bank. 2018. “Urban population 1960–2017.” https://data.worldbank.org.Google Scholar