Just last year, Ugonna decided it was time for a new creative challenge: she quit her role as the Director and Chief Curator of the Guild of Professional Fine Artists of Nigeria to open her art gallery. It’s been a year, and the Yenwa Gallery, situated in the very urban and chic Victoria Island of Lagos state is going strong, with several impressive achievements in its portfolio. She agreed to speak with us about the journey so far and some of the intricacies of owning an art business in Nigeria, among other things.

In Conversation with Ugonna Ibe begins now…

ALM: What are some unique challenges you’ve faced running an art gallery in Nigeria? How did you resolve them, and how would they shape your business in future?

UI: For the gallery, if I think about all the new-age galleries, I would say the others have been open for two, or three years. I think that I was maybe one of two galleries that opened last year and I know that I opened the gallery at an exchange rate of 740 [dollars to naira] and so, to be in year one of running a luxury business, and having the currency devaluing to that degree, was extremely challenging. It has been one that we had to adjust to, especially when considering pricing the works: do we price in naira, or do we price in dollars? These were questions that I didn’t consider. I started the gallery knowing that we were going to charge in Naira. And to be fair, to a certain extent, we have maintained that. But … I would say that is one of the biggest ones.

And of course, the transition; leaving curating for other people to then starting a business where I am balancing curatorial integrity and running an art business which are two completely different sorts of things. And that has been something that is an ever-evolving thought and process. How am I finding that middle ground of creating great curatorial shows, adding more programming and educational components while remembering that it is an art business which has to be profitable to pay the bills and the artists?

ALM: I am curious when you talk about the curatorial side of the business, does that mean it’s not profitable?

UI: No.

What I mean is, there are different ways of running an art gallery. You have the art dealers who are just dealing art and some of them don’t even put on shows; they don’t even put on exhibitions. And there are some shows that the impact is in the narrative, the impact is in the archival work being exhibited, and the impact is in the discussion around the work. It is not necessarily conceptual. And those are things that as a curator, I have done in the past and I’m interested in, and so many things you want to explore, whilst also making sure that [as] you’re running a business and you have a physical space, that you’re also doing commercial work at the end of the day. And sometimes, there isn’t room for commercial and curatorial. So that is just like the ongoing strategic thinking that I’m doing with creating my gallery’s programming.

So making sure that we have enough successful commercial shows that somewhat fund and make room for more experimental shows I should say – more experimental shows, more programming, more educational shows. Even though, because of my love for writing and narratives, we still make sure there is a strong curatorial component to our commercial shows. And I think that is also part of what is the selling point. When you come in … and we don’t do this just through text: we do it through experiences. So most of the time when you come into the space, it feels new with every exhibition … you’re transported and that is also one way to still keep it fresh and interesting even if it is just a commercial show. 

ALM: What is the one thing you want the Yenwa Gallery to be known for?

UI: If you look at our exhibitions, we have given a lot of women their first solo shows, and that is something I’m proud of, to be able to work with young women and to be able to give them that opportunity to show. But I also would like for people to … when you think about it, you know you’re going to see something interesting, something fresh and it’s going to be an experience. And that’s what I want. I want you to talk about the exhibition to other people once you leave.

ALM: So far, what has been Nigerians’ attitude towards the arts? Especially in light of our increasingly dwindling disposable income. How has that affected our attitude and perception of the arts, and generally, do you think we’re a country that truly appreciates art?

UI: So that is a very interesting question; I’ll answer the second one first. Because what I would like to know is what is your definition of appreciation? Is it appreciation from a Western lens or from the way that we live? Because I think that through time, we have always appreciated art. We have a very decorative culture, we have interesting doors, and we have interesting stools. A lot of art is in people’s homes whether they are known names or not. But I think that we have always appreciated art.

Now, when it comes to the art business, there are (sic) of course formulas to ensure that some artists, ‘ work keeps increasing in value. So, it is that system that I think we don’t have a handle on. It is still dependent on the West. But, when it comes to collecting, there is a small collector base, and there is a growing appreciation of art for collecting. Yes, the economy is very bad, but, we had our opening [the other day] for the Laju Sholola show and we sold out! I can’t believe it. But, we were also very intentional about the time that we were exhibiting the works, the type of works we were exhibiting, the sizes that we were offering, and the price points that we were offering. To make sure that the artist is happy with the price point, but that it is also sensitive to the economy.

So, in times like this, what you find is, art is bought differently. Collectors are always going to buy art. It’s almost an addiction but we’re grateful for it because we still need more – more investment in the space and more collectors. But you just find that peoples’ priorities shift in their collecting. And so that is something that as a gallerist, I have to be aware of. What type of art should I be offering, at what price point should I be offering the art and to whom should I be offering the art? So it’s just adjusting, adjusting and pivoting and maintaining, trying to sustain yourself through this period. But thinking about it strategically to make sure you’re offering the right thing at the right time. And I think we knocked it out with the Laju Sholola show!

ALM: What are some challenges artists face in Nigeria, and how do you think these can be overcome?

UI: Listen. I’ll tell you there are many challenges, but the number one is funding. And funding can solve a lot of those other problems. If you want quality art materials so that you can make quality, long-lasting art, you need money. And most of it, if not all, are imported and as the currency devalues, the more expensive the materials are becoming.

Now, this affects [the artists] in so many ways. Some people can’t create work, some people are creating work that simply responds to the market; they are not creating authentic work anymore because it’s tough. You want to sell, you see what’s selling [and say] “I can do that” so you do that. But, that is not the recipe for a long-lasting career. It might get you a few pieces bought here and there, but if you’re looking to sustain a noteworthy career, that’s not the way to go. However the funding is across the board so the artists need money for materials, the institutions need funding for programming and to be able to create space for artists to be able to show. So there are so many ways it impacts, and I’ll say ultimately, it’s the funding.

ALM: Is it possible to work with local materials as a way around this problem?

UI: Of course, it is possible … and you’re talking more about people who work with environmental themes or in environmental art. But that is such a niche and a small subset of artists. And when you look at also what the art market is doing, people are buying predominantly paintings. And even people who are using found materials and mixed media – mixed media, there is likely some acrylic in there somewhere; so, we can’t tell — I don’t know what percentage of the market — to switch their materials. And also, the artist is creating – an artist who has a genuine narrative – there is a reason for the materials that they have chosen, So, you can’t say, ‘Stop using acrylic.’ There’s a reason they have chosen that.

The person who is sculpting, there is a reason they are sculpting their stories into that medium.  So, it’s not about switching. How many sculptors can you name that are hot right now? And you know, that is also something that I’m looking at right now; I’m not seeing as many young sculptors – we were seeing a few popping up here and there but I’d be excited to see more people try out that medium. But again, it’s likely people are going for what is selling the most, and that comes from a place of lack.

ALM: How do you determine that an artwork is valuable enough to be showcased at the gallery? How do you pick your artists and how do you select the pieces?

UI: I only show the world what I believe in, the works that I like. My art appreciation is vast. That I might love it does not necessarily mean that I might buy it but I know who would. I know who to market it to, I know it’s brilliant work, I know it’s beautiful work, and it has to be something that I believe in, that I know that I can sell. It has to be made properly so the right materials, quality materials, and there’s a difference. Sometimes we have emerging artists who have a really good eye, have really good skills. But if I talk to them and we can’t land on a narrative, I’m hesitant. Because I worry about the sustainability of the artist and I worry whether this is just good craftsmanship, or if this is an artist that has many stories to tell, and many ways in which the work can develop. Of course, it’s a gamble every time, but, for artists who are already working, so not new and undiscovered, I’m looking at consistency, I want to be able to place works in collections and trust that the artist would keep creating. My collectors are buying what they love, but they’re looking also for works that will appreciate, at least some of them. And so, there is an integrity to selling works, knowing that I love it, I trust it, I trust where the artist is going, I will back the artist, things like that.

So, a lot of times it’s a feeling, and the work is beautiful. It really has to be something that feels special, feels unique, that feels genuine to the artist, and I know that I can find a home for the work.

ALM: How has the art season in Nigeria and Africa evolved especially with regards to Art X and other popular art fests?

UI: So Art X has been phenomenal in many ways. One of the major [ways] is obviously being a platform that can introduce Nigerian, West African artists, that can platform them, propel them. And sometimes not just introduce, but just give a better visibility to artists who have already been working for a long time. So that of course is a key benefit.

But really, it is the art ecosystem that they have created around Art X that has truly been special. Art week is a thing. There are so many interesting shows, there are so many interesting performances. It has created even more opportunities for people, for galleries for artists. And I think that that is great. It’s created a platform for other people to be discovered and to work. Right now, there is a global decline in art sales, but if you compare African art, the decline in African art sales is nowhere near the decline in global art sales. And that speaks to the resilience of the African art market, and we’re grateful for platforms such as Art X that are value-creating institutions on the ground which we need more of. Especially when we don’t want to be solely at the whim of the international market to be able to create value locally and that is what I think Art X has done exceptionally well. And we just need more of those opportunities in different forms, and not necessarily another art fair. I am talking about the museums – again museums need funding (laughs) – the residences that are local residences but are globally-recognised.

ALM: Is there a difference between how the works of Africans in the diaspora are valued and how those on the continent are valued?

UI: Of course, there’s a major difference, and it’s just, that we’re in two different economies, and the entry point for arts internationally is completely different to the entry point for arts in Nigeria and West Africa. Just think about the amount of money people are making in Nigeria … an entry point of $5000 in America… ok, a bit high but it’s doable. But an entry point of ₦5 million, which is still less than $5000 is relatively unheard of.

But also, what is the context here, what is the reason that you can even have a high entry point? You’ve gone to possibly a reputable art school, you’ve done an interesting residency, you’ve worked in an international gallery whose price point started at $5000 … you know, so many things in the ecosystem that allow the work to be those prices, and, that just don’t [allow that] here. What is the justification for the price point? You can justify some things even though you call them expensive abroad. But here, a lot of the art schools have lost their glory unfortunately and that is something that also needs to be looked at. [Also] do we really have any strong residencies? What are the value-creating systems the artists are going through locally to say this is my price point? This is why you see a jump in prices when a local artist is shown internationally and he’s left our shores.

Of course, the work here is undervalued and we have to respond to the local market, as we have to respond to the buying strength of the local market.

ALM: What are the major generational differences you’ve seen among art collectors who come to the gallery?

UI: That’s an interesting question!

So, there are generational differences which have also changed over time as well. I would say right now, your more established collectors are collecting more established artists, for good reason. However, established artists are slightly out of the price point of a younger collector. So you have that collector collecting more emerging artists.

A few years ago, established collectors were voraciously collecting emerging artists’ works as well, but the market was a little better than it is now, unfortunately. And so you’d see a growth in the value of those works exponentially and you had artists who were getting snapped up by international galleries and things of that nature. But … I spoke to collectors who said they have collected so many emerging artists, and only a few of them ever really became successful internationally. So what we have now is just a gap. A lot of established collectors have so many works and right now, to build a robust collection, you want to have some of the top names, you want to have the established names because they’re bankable at the end of the day, they hold the value.

We’re still connecting emerging collectors to established artists but of course, like I said, the price point is a little bit high. So, [as an emerging collector] you keep a name in mind and you work towards getting that. But right now I would say emerging collectors are buying mostly emerging artists. The emerging collector is truly buying what they love and that’s great, that’s exciting to see. And established collectors are prioritising and they are more critical. 

ALM: Are there any current conversations around tokenising artworks? Are people crowd-funding to buy pieces?

UI: There is a company that is pushing that; that’s what they do – fractional ownership of Nigerian arts, of masters and whatnot. I think that for that, there’s a massive education gap [because] how many people even know these things? It’s weird … right now I don’t know that they’ve found a sweet spot with who the target audience is for that. I think it’s necessary, it’s something that is happening globally, but, imagine if you have the option to buy a piece of Picasso, Van Gogh …  when you consider it, the people who get it, the people who know the names, they probably have the money, so why would you want to buy with anybody?

Then there is a smaller subset of people who crowd-fund to buy art, and it’s [still] fractional ownership, but it’s like friend groups. But how many pockets of those are you finding? It is something to encourage for sure, to encourage collecting together. I don’t know, I guess you have to make sure your contracts are tight. 

ALM: What is the one thing you wish you knew before getting into this line of business?

UI: That’s a tough question!

The only thing that comes to mind … cos obviously, I didn’t have physical space but I’ve been operating for a while. I guess the difference is … it’s interesting cos when I was helping out in other spaces in curating works there was a more intimate relationship with the artists. But I found that there is a stigma in being a gallerist and the artist is a little bit tense. There is a little bit of tension between the gallery and the artist which I don’t think should be at all, especially here, locally. I don’t know galleries to be exploitative or anything of that nature.

[After] the first couple of experiences [I now know] to have a firm contractual agreement with the artist. Now, we always had contracts of course, but certain things weren’t detailed within the contracts. So now my contracts are very, very tight: they’re given an advance so that we both understand our responsibilities during the show. Again, I think it is also a problem of artists not understanding the gallery model but, I have had to just be firmer with the art business, which removes me a little bit from the artist sometimes. I didn’t anticipate that change in the relationship, but it is all the better for everyone involved.

ALM: What would you like to see change in the Nigerian art scene?

UI: If I say funding again will you complain? (laughs)

I would say that it does go back to funding, but I want to see more experimental work within the art scene; I want to see more experimental exhibitions, more historical exhibitions. Just things that are beyond the gallery space: more public exhibitions, public art, community engagements, more public programming, more collaborations within the art ecosystem between galleries and museums, which I think is also a way to support where there’s a lack of finance. So say the museum can’t afford to hire me as a curator, but I can offer programming support, and join exhibitions or something. Just more collaborations to think through the way we present art and art education.

Of course, all of these things are us again trying to survive despite the government, but really what we need is governmental assistance. When you see other countries — look at the Biennale in Dakar that is funded by the government — we need that sort of support because otherwise, we’re stuck in the rat race of commercial exhibitions since everybody has to pay the bills. We have so many stories to tell, we have so much history to tell, and we have so many socio-political stories to document through art. There are so many things that can be done in so many interesting ways, so many spaces that can be occupied in very different ways. But it all boils down to being able to, because certain things that are public or educational, they’re not bringing any money. So who’s going to fund that? But that is what I would like to see because it also allows artists to see the different ways in which they can exist, the different ways in which they can create art. If you only see paintings on a gallery wall, you’ll believe that it is the only thing the market finds valuable. And that’s not necessarily so. We have shown photography, we’ve shown new media, we’ve shown experimental art, conceptual art to a certain degree, but not everybody is showing now or can, but they may want to and people have bigger, larger ideas, but they don’t have the funding to put this on. However, the artist may not understand all these things going on behind the scenes.

I have a performance artist that was speaking to me and that was his complaint, that he does not see any space that is showing performance art or making room for performance artists. And I love performance art. I don’t know that my physical structure can accommodate it as well as it should, but I’m thinking of ways we can create the work to fit the space. I think that it’s crucial especially for the artist to see all the ways that they can create and know that it will be accepted and know that they would find a place.

So, I’m looking for that cos as a creative, you want to feel free, you want to feel authentic but you also want to know that somebody is going to listen and watch and buy and invest and all of those things.

ALM: What major achievement are you most proud of concerning the gallery?

UI: Surviving girl, surviving!

I’ll tell you an achievement I’m proud of. I’m proud of many things, to be honest. I’m proud of starting, of taking the leap and getting up each day and being able to give opportunities to artists: I think that it is such a worthy way to live life and I’m grateful for the opportunity to work with art and artists.

In particular, I showed a mid-career artist, Joshua Nmesirionye, who is a part of the Guild of Professional Fine Artists of Nigeria. He has shown with all the names that are popular and he’s well known to seasoned collectors, but not all: he’s a quiet painter. But until we offered him his first show – of course, we established a relationship when I was working with the GFA – he’s only shown in group exhibitions. We showed his first solo which included an exhibition of his sculptures for the first time and it was so well-received.

At the time, the Kinseys were visiting Nigeria – they came shortly after the show. Bernard and Shirley Kinsey are the largest collectors of African-American art in history and I had shown Joshua a month before they came. I then had the opportunity to install artwork for an evening programme they were scheduled to speak at in the US Consulate. And so I brought one of my favourite pieces from Joshua’s exhibition, which, the only reason it didn’t sell is because I was being low-balled so badly I refused because I loved it so much that I thought it was being undervalued.  Truly the exhibition had done well, and I didn’t want a situation of selling by any means necessary.  So I held on to it. I placed it in the consulate for this talk and that is when they saw the work and they fell in love and they wanted to see more. We talked through different things and they ended up getting two pieces from him: one painting and that sculpture.  Their collection has been touring America for the past 18 years. They have almost a thousand pieces in history. And when they purchased Joseph’s work, that was the first time in 18 years that they had added a piece of non-African-American work of art. They then put it up for exhibition and I thought that that was so remarkable: an artist who’s been working for many years, who has been showing, and he finally gets his first solo and a piece of that work is now sitting in a museum in Houston. Of course, beyond the museum, it’s now a permanent part of the Kinsey’s collection history. And for me, I thought that was very special, I’m glad I was able to be a part of that journey.

But, there have been many other milestones, to be honest: we had our first art fair, and we recently celebrated our first anniversary as a gallery. Like I said, at the end of the day, I am grateful that I’m still able to open my doors and put on shows.

ALM: So, did that elevate the price of his works in general?

UI: So I’m going to answer this question in 2 parts. Because that is also another problem that we’re finding especially with emerging artists, where you sell a piece of work, especially direct sales; somebody hits you up on Instagram, and you sell at $5000 and all of a sudden, you think all your prices are now $5000.

So, this was a singular event, and with every exhibition, the prices do have to adjust a little bit. [Sales like this] add value [to an artist’s body of work] but it’s aggregate over time, so now it’s easier for me to get into the next thing. You have to add all these things together to then say this is what it is. Now, the prices that truly affect people’s price point is auction sales, but it is also all of these things, all of these plug points that give a good narrative for why they should join an auction.

ALM: What’s next for the Yenwa Gallery? Any big projects?

UI: Yes.

We will be launching our art residency soon: I don’t know when, but the space is ready, so if anything we might probably launch towards the end of the year. We are hoping to do more fairs next year. We’re talking to a few international galleries to collaborate on exhibitions. But yes, I think the art residency will probably be the biggest programme and then, of course, we intend to represent artists. So we will probably be making that announcement at the start of next year. Maybe at the end of our residency, we would use that opportunity to then announce the artist that we’re representing. And that is the direction that we want to go in.

ALM: Do you have any particular view towards AI and the arts? Would you like to share that with us?

UI: Yes. If you’re talking about AI specifically, yes.

I think that I’m not up to date on the legal happening right now, but my issues are the ethics behind the source material for AI and whose work is that, how is that regulated? I don’t imagine the source material even considers the African artist and the African perspective. So to me, I support visual artists; AI in particular is obviously where I draw the line. I have an ethical objection to it. I haven’t seen a compelling use case yet, so…

ALM: What are 3 things that people don’t know about you?

UI: I’m an introvert. I don’t know, maybe people know that but I think that most people think I’m extroverted. But I went to performing arts school for a long time so I just know how to be an extrovert. I’m very much introverted. I like my personal space and I need to recharge. So it’s very tough being in this business because it’s a lot of networking, it’s a lot of “people-ing”, so I always need to recharge.

Another thing would be that I’m a singer; a lot of people don’t know that. But also I think that’s intentional, I don’t talk about it because many people would then ask me to sing.

[Lastly] I’m a painter, I paint.

ALM: If you weren’t doing this, what would you be doing?

UI: I would be acting full-time. I did drama, art voice, all of that. I still want to act at some point. But let’s leave the creatives. If I wasn’t doing this, I would be a therapist.

I did not speak about [my environmentalist background] because I feel I’ve got a roundabout way to get to it at this point where I am finding ways to integrate, to consider the ways that art and artists can respond to the climate challenge. So documentaries and films are (sic) part of art, platforms that are telling the stories about what’s going on in the environment. And talking about the environment from the African perspective, I think that art is equal to the task. It makes it less personal but also less confrontational which I think is necessary. People tune out when you mention the environment, and people don’t have a true understanding of environmental impact in my opinion. I’ve had too many people say that thinking about the environment is like the final bus stop of bougie things.

I was at a talk, and someone in the audience said that people are hungry and people are this and why would I think about that? And I was like those are the people that are suffering the environmental impact the most, they just don’t know it. I can choose my environment and insulate myself to a certain degree, but a lot of people cannot do that. Between the air quality, the water, the flooding…  and I think that art allows you to make those things more real and more personal. So I don’t feel like I’m not doing the sustainability; I’m not doing it in the way that I thought I would do it, and that’s ok. I think that this way is truer to self.

ALM: I cannot go into a meeting without …

UI: Preparing and picking an outfit.

ALM: I cannot step out of the house without …

UI: My power bank. But that’s just a Nigerian problem. If I were not in Nigeria, I would never leave home without my lipgloss, because I leave with at least two.

ALM: My day is not complete until I have done …

UI: I talk with all four of my sisters every day.

‘In Conversation with’ by ASPIRE Luxury Magazine celebrates stars, influencers, celebrities and public figures, shining a spotlight on their lives and the incredible stories they have to share.

The post In Conversation with Ugonna Ibe, Multi-Hyphenate Creative and Founder of Yenwa Art Gallery first appeared on Aspire Luxury Magazine.

The post In Conversation with Ugonna Ibe, Multi-Hyphenate Creative and Founder of Yenwa Art Gallery appeared first on Aspire Luxury Magazine.

“We created a platform last year called NBA Meets Culture,” Gbemisola Abudu, NBA Africa VP and Country Head, NBA Nigeria, explains of the initiative. “The five pillars of the platform are arts, fashion, film, music and tech. Tech has become a fifth part of our culture because it enables all the other pillars. It just so happened that arts was the element we started out with last year, choosing to celebrate basketball through the lens of Nigeria’s rich heritage and arts culture first.”

It is almost symbolic that the evening event celebrating the 2023 instalment of the NBA Meets Art initiative took place in the Tiffany Amber Gardens. This lifestyle hub, housing the flagship store of one of Nigeria’s premier luxury fashion brands from the tail-end of the 20^th century, is a testament to how following a dream, no matter how crazy it may seem, can have unexpectedly wonderful and positive consequences.

This is not the NBA Nigeria’s theme this year in its collaboration with artist, Dennis Osadebe; however, it is the overarching message in its commitment to supporting the culture of the communities it exists in and extending its influence beyond the courts.

“First, people don’t realise that when you think about sports and arts, those are two languages that the youths resonate with. They’re the language of the youths. Arts is a way in which the youths express themselves, and, there is that natural synergy between arts and sports, it’s always been that way historically,” explains Ms. Abudu.

“Then, on top of that, one thing has become quite exciting in Nigeria. Through the invention of Art X and Art Week, art has been democratised. It has taken it away from the elite to the average Nigerian. That is why it was very important for us to do an installation there because we wanted to speak to the youth in a language that resonated with them. So, if you look at the installation that we created with Dennis where we talked about team building, working together, and building communities together, this is part of our messaging for the youth. So when you say why arts, that’s why arts. If you really peel back the layers, you can see where the natural fit comes in between sports and arts and specifically, basketball and arts.”

Dennis Osadebe concurs wholeheartedly.

“I would say that arts is in the fabric of everything … I got into basketball from playing video games. So from NBA2k to NBA streets, NBA figurines, NBA toys like a toy of Kobe Bryant, a toy of Iverson – that was my entry into the sports. And I would say, that’s arts. That is expression. That is almost giving the user the tool to express themselves. And you know, I found that very important in this collaboration because art also is very representative of culture, and a big part of culture is visual art.”

Based on the theme ‘Passing/Building/Victory’, the installation features five masked figures — Osadebe’s signature style — all holding a ball.

“This collaboration speaks to passing, it speaks to teamwork. And that is the ethos behind basketball – teamwork. You can’t win by yourself and I wanted to draw that into the work. That is why in the installation there are five different sculptures. So those five sculptures represent a basketball team about to make a point. And they’re arranged like that because that is an offensive position in order for you to attack and make a point. And the reason why it’s rotating and they’re spinning around is because they’re looking for who to pass the ball to.”

How did this collaboration come to be? For Dennis, it all started when “Gbemisola reached out to me saying look Dennis, this is our objective with NBA Nigeria and we would love to work with you on this next version of NBA Meets Art. And once that conversation started, I was excited because what is very important to me is to elaborate on being an artist and showing that there is not just one way to be an artist. You can be an artist that also celebrates community in a sexy way. So we started the conversation and what stood out to me is that basketball is a sport of 5 people that play as a team. So I said I wanted to build on that idea of teamwork because teamwork is important to sports and it is important to the community. As a community we can’t be great by ourselves; we can’t even go through the day by ourselves. We need people in every part of it. So it was just organic once we started the conversation to build on the collaboration.”

For Gbemisola, it was a bit more complex than that.

“When this conversation started about creating an installation at Art X, it really was about what type of artist’s body of work and signature speaks to who we are as a brand, and, who has a natural affinity for the brand. And I am not saying … a natural affinity for the NBA or for basketball is a requirement for us to work with an artist. But for the thought process for the first work we do, we wanted an artist that had a natural affinity for the game, understood the game, and understood the ethos of the NBA.”

“A name that was consistent in all the conversations I had, whether it was from research I did (I’m a lover of arts as well, so I’m familiar with several of the artists in the space), having conversations with Art X, having conversations with different patrons of art; a name that kept coming up consistently was Dennis Osadebe.”

“As we grow the footprint of the brand in Nigeria, there is a level of intentionality on how we showcase Nigeria to the world, how we showcase our excellence and the amazing things happening in our creative industry. So, when you look at all those different layers and you have all these criteria that we sort of spelt out, one person that checked a lot of those boxes was Dennis. And that’s why we decided to go with him for our first collaboration with an artist. And expressing to him what we were interested in creating, and him being able to come back and say, based on what you’ve said, based on my work, here’s what I would present. And the theme of ‘Passing/Building/Victory’ came together.”

Judging by the response NBA Nigeria has received from this first installation, Ms Abudu is more than confident that the initiative is not only here to stay, but would also unlock incredible and unimaginable opportunities for the Nigerian art community and just about everyone who is affiliated with the NBA here in the country.

“So this is the first time we have collaborated with an artist in Africa for our NBA Meets Art initiative; we’ve never done this before. And what we’ve seen so far … is an insane level of interest from galleries around the world. Everybody has been like this is amazing work. I’ve received calls from galleries from all around the world who’ve said, ‘Can you bring this work there?’ There is a hunger for it, seeing the reaction even at the fair, all the pictures of kids painting on it and really just having a great time, seeing a bunch of kids saying they want to take the figurines home with them. And a lot of people saying they want a piece of this at their home, can they buy the figurines? It just really drives home the point that wow, this really was successful, people love it, people care about it.”

As for what is next for Nigerian art and the larger community within the NBA, Gbemisola is very optimistic. “We’re going to find very interesting ways to implement programs and initiatives to deepen our involvement with the arts community in Nigeria in a sustainable manner. There are plans to figure out what that would look like after the success of this installation with Dennis.”

The post NBA Meets Art at Art X 2023 to Influence Beyond the Court first appeared on Aspire Luxury Magazine.

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Hennessy launched In The Paint back in 2021 to foster community development through a blend of art and sports. So far, seven courts have been unveiled and are in use all over the world from Nigeria to Ghana, Tanzania to South Africa, Barbados, Mexico and Hong Kong. By bringing Joakim Noah on board, Hennessy hopes to move from just building physical structures that local communities can enjoy, but establishing programmes that would also elevate and empower its members.

Noah is no stranger to sports and arts. The former basketball star who is renowned for his grit and tenacity on the court, as well as his contribution towards his teams’ successes has been busy since his retirement in 2021. His personal project, the Noah’s Arc Foundation (which he co-founded with his mother, artist Cécilia Rodhe) combines arts and sports to help people living in underserved areas discover who they really are outside of the physical realities they live and deal with. He is also heavily involved in other initiatives like the One City Basketball League in Chicago, the Basketball Africa League, and, the NBA.

This October, Joakim Noah came to Lagos, Nigeria to launch the latest Hennessy In The Paint basketball court located in VGC Lagos. We sat down with him to talk about his life and pursuits and find out more about this new initiative.

In conversation with Joakim Noah begins now …

ALM: You come from a strong professional athletic family. Did this in any way pressure you into sports?

JN: I don’t think it pressured me into sports. I think sports is what I’ve always wanted; basketball is what I’ve wanted. And I was blessed to see … at a young age, I was able to see my father train. And you know, just being in that kind of environment, it definitely shaped me. So I knew what it takes, the sacrifices it takes to become a professional athlete. And it’s not easy.

So I’m happy that, even though that part of my life is over now, it’s [now] about mentoring and partnering with the right people and building infrastructure.

ALM: What has been the downside of coming from such a strong, athletic background?

JN: Downside? No! I am living out my dream. Ever since I was a kid, my goal was to become a professional basketball player and I was able to do that. Now, it’s about transforming my experience into inspiring the youth, and, being able to partner with initiatives like In The Paint and Hennessy and big platforms like this only make the work easier because they are building the right infrastructure for these kids.

ALM: With the type of work you’ve been doing with different brands (the NBA and BAL (Basketball Africa League) to develop basketball as a sport, what has been the greatest achievement(s) for you so far?

JN: The biggest achievement has definitely been investing in the NBA African League … because a lot of these initiatives, especially when I was younger, as a player [did not exist and] I was alone. And you know, that’s always tough. So just connecting with the right people [has been great] but I think, so far the one that I am most proud of is the [court] that we built in Cameroon on my great-grandfather’s land.

So, we built a beautiful court and the team – we have a local team – just made it to division 1 last week. Being able to partner with these initiatives like In the Paint is only going to make it better. We’re just trying to grow basketball in the continent as much as possible and all around the world.

ALM: What is it about sports (basketball) that keeps you coming back? How important, in your own perspective, is sports in character and career development?

JN: Well, I think that basketball gave me the opportunity to live out my dream, so I think that these are things that kids can really explore on the continent. I think we’re still in the early stages when it comes to basketball. So the more we can highlight basketball and put the light on basketball, the more the kids will be inspired. And the more we grow the game, the more opportunities will come for people on the continent. I think that’s what it’s all about.

ALM: So apart from the opportunities, how do you think basketball can help with career development and personal improvement on the continent for our people? 

JN: I think that basketball is not only about becoming a professional basketball player. It’s the whole ecosystem around it that you can learn from. The values from the game are so important. The team building — you know, when you’re working for a company, you’re not going to be alone, it’s not just going to be your thoughts. So, it’s about teaching people how to work together, so I think that using sports to build communities makes so much sense because it’s the ultimate unifier. When I think of the top unifiers, I think of music and I think of sports. So, not everybody is going to be a musician, not everybody is going to be an artist, not everybody is going to be a top basketball player, but the values you can get from it can help you in the next endeavour.

ALM: Now that you’ve put it this way, with the basketball team you’re building in Cameroon, what are the things you’ve seen that make you think, ‘this was a good thing to do?’

JN: Well, I just see the growth; I see the talent is growing. I see it’s going to be the year for the NBA Africa league, so I see the top players playing on the continent, on government investment. I see government investment in different countries: Congo is building stadiums; Rwanda just built a beautiful stadium, Senegal – the NBAs just made a big investment with the academies. Our goal is to build an academy in Cameroon.

So I just see basketball really growing on the continent. Not only can we bring the people together through basketball, but I think that we can also add workshops and really localise some of the things to make the communities better. I think a great way to do it is to bring the youths into sports initiatives.

ALM: Sometimes we focus too much on the players, forgetting that there is an entire ecosystem: you have the referees, you have the coaches, you have the physiotherapists and all of that. What are the plans for people like that to come and support the court and actual players?

JN: Well, I’ll give you an example. There is a kid in Cameroon who really had the ambition and dreams to play in the NBA. So he was posting videos of him playing basketball. And he would go viral all the time because of the structures which were very limited. And he was doing whatever it takes. We were able to use him as an influencer in the BAL and utilise his platform to kinda help grow the sport [locally].

So I think what is beautiful is the relationships that you build during these community events, and then you can incentivise the kids as well: OK you guys come in, this is more than just a basketball tournament. We are not here to find an NBA player. This is about building and coming together, having a good time, and seeing what kinds of relationships you can make out of it.

ALM: What was the one principle you applied while playing professionally that you can say contributed greatly to your success?

JN: I think a line I always go with is, “Humble yourself or the game will humble you” because a lot of the time, people come and think they’re the best because they’re the best in their region but you’re always going to find somebody who is better than you. You’re always going to be in a position where somebody might dunk on you and embarrass you on the court. But you have to move back quickly. So it’s important to have a humble soul and just live in the moment.

ALM: So what is one special moment you look back and think, “I’m glad that I did that?”

JN: Well, I was just saying that when I built my court in Cameroon this is something that took a long time, that was not easy, you know, just bringing all the resources from America and bringing it to Cameroon and getting that kind of access was very hard. But, when it got done, to be able to go home – see, the court is near my grandmother’s school that she had built 65 years ago, still going on today – it’s something I’m very proud of. This is my responsibility. I was able to build a court, my father was able to build a tennis court, and my grandmother built a school … this is all part of our roots and our tradition.

ALM: What is it about the In the Paint and all these collaborations that made you think it is a good fit for you?

JN: I think that this initiative with In the Paint and Hennessy makes a lot of sense to me. Art and sports are the main things about my foundation. So I think this initiative makes a lot of sense because I see them using local artists to build the courts, and expression is something that is very important for us. So I just think this partnership came very organically. I’m really excited to go to the court today and feel it out and see the vibes and then we go from there because at the end of the day, I work with the NBA and to have a partnership like this that focuses on sports and arts. It was just a no-brainer.

ALM: Are you an artist in any way? Do you draw, do you paint? Do you sculpt?

JN: My mother is an artist. My initiatives were a lot in the city of Chicago, so my mum does sculptures with the kids; it’s art therapy. And I understand how therapeutic sports and arts can be. I really believe in these core values, and I think that’s why I’m here.

ALM: What is the toughest challenge you faced in your basketball career? How did you overcome it?

JN: Honestly, there were a lot of highs, and there were a lot of lows. It was a career that I wouldn’t trade for anything — you know, I played at the highest level against Lebron James and Giannis and all these great players. I also played with the youngest MVP, Derrick Rose, playing for one of the most prestigious teams in the world, the Chicago Bulls, but it wasn’t easy. There were suspensions and some tough moments: losing is hard sometimes. You know, I was a very emotional player and it’s tough. While I was playing, I didn’t sleep well throughout my whole career. I sleep a lot better now!

ALM: What do you think would be a natural progression on the continent now with what Hennessy is doing?

JN: I think the progression is happening. Infrastructure is very important; they’re building sustainable models where we can follow up and make sure the kids are getting the right coaching. I think that that’s something that is great. But for me, this is my first day working with Hennessy so I’m not over here trying to say what we should and shouldn’t do. For me, I just want to be here and pay attention and see where I can make myself the most helpful as possible.

ALM: Is this your first visit to Nigeria? What has your experience been like so far?

JN: Yes, this is my first visit to Nigeria and I’m really excited to be here. I’ve spent a lot of time in Cameroon and this is the country down below. But when I think of Nigeria, I think of Lagos; I think of Fela Kuti and I really hope we have enough time while I’m here to go check out the shrine.

ALM: What are your 3 favourite cities in Africa and why?

JN: I mean, I’m going to definitely say Yaoundé first because Yaoundé is … that’s my root and my heritage. You know, I kinda have a few spots over there that I know where to go to and see my friends.

I love going to Dakar, I think Dakar is a beautiful, beautiful city. We were also able to bring some kids from Chicago on our last trip over there. We went to Gorée Island and I think that was a really powerful trip for the youths … for them to feel their roots and their heritage even though they’re not sure exactly where. It is definitely empowering so I was very proud of the Dakar trip.

And Kigali. We just came back from Kigali. Kigali is a beautiful, beautiful place, the heart of Africa. We went to see the gorillas as well. You know, a vibrant city, but a little more chill. I think that Nigeria has a lot more action, a much faster tempo but I’m used to it.

And you know, I love Morocco as well. There’s so much to see.

Complete the following sentences

If it wasn’t basketball … I think I would have enjoyed coaching or being a part of working in a community centre with kids. I love working with kids.

I cannot go into a meeting without … talking points!

I cannot leave home without … my debit card.

My favourite thing in the world to do is … to chill on the beach.

‘In Conversation with’ by ASPIRE Luxury Magazine celebrates stars, influencers, celebrities and public figures, shining a spotlight on their lives and the incredible stories they have to share.

The post In conversation with Joakim Noah, Former NBA All-Star and Global Ambassador, Hennessy In The Paint first appeared on Aspire Luxury Magazine.

The post In conversation with Joakim Noah, Former NBA All-Star and Global Ambassador, Hennessy In The Paint appeared first on Aspire Luxury Magazine.

For now, it is just that – rumours, since neither house has confirmed its authenticity. While no one expects them to, it makes sense that both auction giants are desperate to get their hands on the collection. For starters, history has it that during her lifetime, Ms Landau was able to amass at least 1,500 works of art, of which she donated 367 to the Whitney Museum in 2010 where she had been a trustee for years. Therefore, there would be at least more than 500 pieces of artwork to auction, assuming her family does not wish to part with all of them at this time.

But even more important is the fact that the Emily Fisher Landau collection boasts of rare and highly sought-after works from some of the industry greats, including Andy Warhol (who did a silk screen portrait of her), Georgia O’Keeffe, Cy Twombly and Mark Rothko. Experts estimate the collection could sell for $375 million to $500 million, especially if it includes Picasso’s Femme à la Montre (Woman with a Watch), a painting nearly five feet tall from 1932, considered to be his breakout year.

And herein lies the crux of the matter.

Since 2020, art has enjoyed big sales and renewed interest. Of course, as with other discretionary goods, sales have cooled alongside global economies. Per Artnet, the big three auction houses – Sotheby’s, Christie’s, and Phillips – have seen a 51 per cent dip in total sales year-over-year. Not even Christie’s sale of the Gerald Fineberg collection in May could save it: the anticipated auction sold for a total of $153 million, not quite hitting its $163 million to $235 million estimate.

This is not the first time Christie’s and Sotheby’s would face off against each other — rivalry between both houses is as old as their histories. And while it appears that most of it is anchored in their desire to be the auction house that can provide collectors with what they want when they want it, this current rivalry seems to have its roots in the unimpressive performance of the art market, which is usually more fickle than others in the discretionary product niche.

While we await the winner in this round of competition, it is safe to ask: is buying art a good investment? As with art itself, this question is subjective, with no straightforward answers. However, one indisputable fact stands out from the unfolding drama: investing in art can be rewarding, but only if it is done right. And part of doing it right is understanding what makes a work of art valuable and collectable; buying original, rare pieces at the right time, and, letting go of them when the time is right.

The post The Christie’s vs Sotheby’s Race to the Emily Fisher Landau Collection: Should You invest in Art? first appeared on Aspire Luxury Magazine.

The post The Christie’s vs Sotheby’s Race to the Emily Fisher Landau Collection: Should You invest in Art? appeared first on Aspire Luxury Magazine.

‘A Masterpiece on the Wrist’: a Vacheron Constantin x The Louvre collaboration years in the making

Per Vacheron Constantin, this collaboration with The Louvre is titled A Masterpiece on the Wrist and will give interested clients a unique chance to work with Les Cabinotiers – the bespoke arm of Vacheron Constantin – to replicate their preferred art on the dial of their selected timepiece.

But this is not the first time the Swiss brand will be working with the French museum to create one-off artistic pieces. In fact, the idea started way back in 2016, after VC supported The Louvre in its restoration efforts of an 18th-century precision clock that belonged to King Louis XV. This project helped both brands to see how they could work together, and in 2019, they both entered into a formal partnership that gave birth to the Bid for the Louvre sale in 2020.

This first sale, the precursor to A Masterpiece on the Wrist project, was an auction that gave the winning bidder unique access to not only tour The Louvre but also the Cabinet des Dessins, a by-reservation only part of the museum which houses carefully curated artworks. It was here that the bidder chose a drawing – La lutte pour l’étendard de la Bataille d’Anghiari, by Pierre Paul Rubens – to be replicated on the dial of his timepiece, another benefit of the special sale.

Two years after, a special edition of four timepieces inspired by the museum’s antique collections: Métiers d’Art – Tribute to Great Civilisations, launched. This year, both establishments are going back to how it all started: one-off pieces featuring a historical artwork selected by the clients.

Making an Homage to Pierre Paul Rubens, La lutte pour l’étendard de la Bataille d’Anghiari

One would think that replicating art on the enamel of a dial would simply be a case of transferring a computer-generated miniature image of said art onto it or some other equally uncomplicated process. But this is far from the reality.

“Transcribing a drawing composed of ink and pen strokes onto a dial measuring 3.3 cm in diameter is a real challenge. You have to get inside the work and make it your own in order to find the level of detail while preserving the strength of the graphics”, explains Vacheron Constantin’s master enameller.

In order to achieve this feat, the master enameller chose to combine the Geneva miniature painting technique with the blanc de Limoges style generally used in grisaille enamel, a technique that allows only black, white and shades of grey to be used. The entire process involved the use of exact tools like brushes with 3-4 bristles and cactus spines; about 20 shades of brown, grey-brown, sepia brown and cream brown to replicate an image that looks just like the original drawing, and, alternate firings that preserved the first shades in the first layers of the dial.

The result is an artistic 18K 5N pink gold timepiece driven by in-house Calibre 2460 SC with a case back engraved with 17th century ‘Cerca Trova’ (he who seeks finds) calligraphy. “Engraving gives an extra-special touch to Haute Horlogerie watches”, says Vacheron Constantin’s master engraver.

The new Vacheron Constantin x The Louvre offer

A Masterpiece on Your Wrist is offering clients the possibility of experiencing a behind-the-scenes look at the Louvre Museum and its workshops, as enjoyed by the purchaser of the Les Cabinotiers – Homage to Pierre Paul Rubens, La lutte pour l’étendard de la Bataille d’Anghiari watch.

It will also involve the creation of a bespoke single-piece edition timepiece with a dial featuring an enamel reproduction of an artwork, selected by the purchaser from a collection of works, most of which are not on display in the Louvre Museum. The experience will be accompanied by a private tour of the Louvre in the company of its experts as well as another tour of the Vacheron Constantin factory to meet its master watchmakers and master artisans.

As for how much this experience will cost you? That is a question left for Vacheron Constantin: visit the website for further enquiries.

The post Create a One-of-One Art-Inspired Timepiece with Vacheron Constantin and The Louvre first appeared on Aspire Luxury Magazine.

The post Create a One-of-One Art-Inspired Timepiece with Vacheron Constantin and The Louvre appeared first on Aspire Luxury Magazine.

Reggie is like that. On the surface, he appears to be a simple person who has managed to successfully combine his passion for travelling with his love of painting. And he is this – a simple person, but one with so much depth that it would take many lifetimes to fully unravel.

Khumalo’s travels have led him to Nigeria, where, in partnership with J.Room Curated and BrownEyedBoy Art Pursuits, he is exhibiting his current body of work. Titled Mental Revolution, it is a collection of paintings that calls for us as Africans to liberate ourselves from our painful past and compels us to usher in an Africa that knows its worth.

Ahead of the exhibition which officially opened on the 13^th of April at the HourGlass Gallery in Victoria Island Lagos, we sat down to speak with Reggie Khumalo and uncover the man behind the art.

In conversation with Reggie Khumalo begins now…

(This article has been edited for clarity)

A.L.M: What inspired your travelling artist life? How did you end up combining both together?

RK: I think for me I’ve always wanted to travel, I’ve always wanted the sense of freedom because I am a motorbiker. So travelling on a motorbike across the continent was freedom; I was totally free, I had no responsibility. I had a tent, my home [and] I was prepared to be … for my home to be a tent.

So that is what truly I did. I had a tent at the back of the bike, and I said “I’m gonna just travel and I’m gonna be free.” And I didn’t expect what I received back: I didn’t expect what Africa gave back to me. I didn’t expect that love I received from Africa, and just how great of a people we are. I never expected that. I was blown away by the kindness that people gave, ehrr, showed to me, I was just blown away by the love. I cannot express it. We are just such a beautiful and unique people. They did it with humility and ehrr, you know, they were so humble about it.

It was like “What do you expect? You’re my brother, you’re my sister.” It was always like that, like “Are you African?” “Yes, I am.” “Oh you’re my brother, you don’t have to pay here, you don’t have to worry.” And it was… and then you realise all of a sudden, ‘I am not alone.’ That changes you. And then you realise that everyone around Africa is rooting for you, everyone is for you, then every place is safe for you. And then you lose that fear of going to unknown places.

So every time I went, it was like also picking pieces of myself with every person I met. Even like meeting you is like meeting myself, you know, in a sense. Because we are one people. And that is such a beautiful experience for me.

A.L.M: And did the idea of doing art… doing exhibitions in each city you visit start from there?

RK: Yeah, yeah. So I do shows in different countries and with some of the money, I then build schools. I help take kids to schools, girls to university in South Africa and in Ethiopia I help… you know, with different things that I can help with. Because also, one of my philosophies is helping…trying to highlight what we are to the world. And I cannot say, “oh, we’re helping people, we’re caring people, we’re sharing people” if I personally don’t do that myself.

So I wanted to be the example, to say Africa is going to be rebuilt by you, it’s going to be done by you, me, I am going to be the change I mean to see.

A.L.M: I had read somewhere that you had run a gallery and done scriptwriting. What inspired your move into art? 

RK: Oh, this is an old interview I guess.

Yea so … I was running a gallery, and then I was doing a whole lot of other stuff. But all that was not just me, you know, it was not just… I just never felt at home. It was not just peaceful you know. And I went through a quarter-life crisis whereby what I am trying to do is not working, whatever is going on is not working. And I had to… that’s when I did the trip.

So the trip was called The Ride and the Artist Within. (Oh, that was the one from Capetown to Cairo) Yea. (Oh, ok, so that was when you decided you were going to go into art full time?) Yea (Really?! I thought you had started doing art before that time.) No, no. So the trip was to find myself, to find the artist within myself. So I went around and I was meeting different artists, I was meeting different people and then… but I know I could always paint, I always could paint. But I just never … it was something that I was shaming, I always felt like artists were quite not taken serious.. they were looked down upon. But then I did this trip and I was like there is nothing else I want to be but an artist, you know?

And so, I just went into it. That trip, my life, totally (And you had no formal training prior?) No, no formal training. (So how did you do it?) Well, I just ehrr, I see people doing it and I do it. But then I .. from that then I start. I think that main thing was for me, to express whatever is inside. Was it right, was it wrong, it didn’t matter. So I just said I’m gonna express whatever is coming from me. And that is what I did; that’s what I’ve been doing. So somehow it has ended up being here in Lagos, it has ended up being in Europe in the States, in being wherever. So now, I’m here, and that has been the journey. It’s just allowing myself to express and believing in that expression that it’s meant for someone’s ears, it’s meant for someone’s eyes, it’s meant for something.

A.L.M: If you were not doing art, if you were not painting, what would you have been doing? What other career path would have appealed to you?

RK: If I was painting, I would have died. (Literally,) I would have died. I just don’t see how else you can be something else you’re not meant to be. Either I’ll be on a motorbike, I’ll be travelling on motorbikes across continents and yeah, cos I’m a biker and that is what I love doing also. So I would just have been travelling on motorbikes across the world.

A.L.M: It was your trip to Sudan that made you introduce this (the Black faces). Because I looked at your earlier paintings, and it was just basically blue on white. So, do you see your art evolving as a result of your travel in future?

RK: Absolutely. I think everything that has happened has been because of the travels. I travel to tell a story of what I experience when I travel. And then… so my travels and my art is (sic) one thing. I travel to pick up pieces of myself and tell my story of those pieces in a sense, right?

But getting to Sudan was just something amazing for me. You know, the places where people have experienced the most are the most kindest [sic] people. I cannot tell you how kind Sudanese are, how much love I received in Sudan. I cannot tell you how much. I have never experienced that kind of kindness (since), until now which is in Lagos, which has been such an amazing experience. You remind me so much of Sudanese, but also, you remind me so much of Africa, like everywhere in Africa we’ve got this kindness. But, that one was something else! And also here too. So the work was… the beauty of Blackness was just so undiluted. 

So the inspiration is Sudan, the time I was in Sudan. It was so beautiful to see a Black skin, like the skin was just so beautiful and purely Black. Undiluted innocence. Like there was no one trying to be anything other than Black. And I thought “this is such a thing to be proud of, for us to talk about, like Blackness.” And so Blackness must be in someone’s face. I want that Blackness to be in someone’s face, like ok, this is Black, this is a Black person. And it is unapologetic. It’s just pure and it’s beautiful, and no one is doubting it. It’s just … you know (sucks in breath) confident and that’s what I wanted to go with.

A.L.M: I know you’ve been successful with everything you’ve done. But, I know you deal with doubts sometimes. When these self-doubts come, how do you deal with them?

RK: I think, first of all, I think where they come from is the moment I stop looking at where I need to go and I start looking all around me. I start to look at what other artists are doing, what all other people are doing, then all of a sudden, then mine is no longer good enough, or where I am is no longer good enough.

But how do I beat that is that I just refocus myself on where I need to be because then I look at where I’ve been. I look back and I’m like, how did I get there? Oh, I did a show in Berlin, I did a show in Paris. I did that [and] some of them were sold out, I did shows in Ethiopia that … and I am like actually, it is a good track record. And I think I’ve been blessed in that sense. And I stop looking elsewhere and I’m like whatever is coming again, it going to be beautiful. So I trust my journey, I trust my path, I trust where I’m going and I trust… yeah, I’ve got no doubts anymore[sic]. I have no doubts anymore [sic]. I mean, they do, it does creep in, but I always have to remind myself where I’ve come from, how far I’ve come.

A.L.M: Do you have a clear process (for your travels) or you allow your work or your guts to guide you? What is it like?

RK: I think the process is, I’m led by whatever it is, I think be it the spirit you’ll say or be it ehmm… and I allow it to just flow.

For instance, certain things like, sometimes what someone will find as negative, to me, like let’s say I need to go to London for a show or something, and all of a sudden the visas or whatever is a problem, I don’t fret anymore. I am not like, oh, I lost out because then I know that probably I was not meant to be there or it was not time yet but there’s something that is greater coming. And it usually is greater. So I’m trusting the process: I really trust the process fully.

I tell you, I was always in the bush with the motorbike for like, two good years literally travelling around in the bush. And I never slept hungry, I never.. and so on. And so, that taught me that I am well looked after, and my path in that sense is also unique and I trust … it’s almost God-given. So, I’ve got no doubt in that, in my path. I try to listen, I’m very sensitive to what is the next step, I’m very sensitive to the journey and where the work wants to go. Ehrmm, and sometimes, I just have to shut down and listen, and just listen. You know, I always say this, I always say to everyone: this is how people, we were, in terms of… the wind speaks, the ocean speaks, the land speaks but are we listening? You know, and these are some of the things I try to get in touch with, to get back to what… that sense that we once had as Africans to the land and to what is around us.

So, and I think that our souls also speak, but we shut down a lot of things. So then it will tell us, ‘this is where you’re going’ or ‘this is what you need to really be, this is where you need to be and this is what you need to…’ you know? And then, it will seem that whatever you do is not wrong, because you’re where you need to be.

And the art speaks too, you know, the art speaks. I have conversations with these paintings. Ehrm, I mean, as I’m painting I have conversations with them. That’s why you see the writing on them. So that’s the writing that I … it’s a conversation between myself and the work and the work and myself in a sense.

A.L.M: What has been your greatest challenge so far on your travels and in your art?

RK: Ehrrm, I think it’s trusting the process, that has been the hardest (not even when you were ill and you had to go back to South Africa?) I mean, that was painful but, I think it was for a reason.

The problem is that I’ve elevated myself to a point where my negativity is my positivity. Does it make sense? Like to a point where, ehrmm, like negativity… has got a part to play in my journey. So maybe if you’ve asked me this question then, I would have said ‘Ah, I felt bad then. But now, I look at everything as I’m on a journey, this is happening. There’s this thing that does not seem to work out now, but it is working out somehow, some way. You know.

(Ok, so every challenge is just like an opportunity waiting…) I think every challenge is an opportunity. I think every, ehrr, you know, sometimes, even good things are bad, you know what I’m saying. So sometimes, what seems to be good for you is actually a poison. So, I don’t think there’s a bad and a good; I just think there’s now.

A.L.M: Is there something you’ll like to see more on the African art scene?

RK: I think what I want to see is more bravery, I think more bravery. I just want to see more guts. I just want to see more of us – not afraid to lose whatever little we have. I just want to see people being a bit more audacious, we must just go for it. Like, playing safe is not safe, you know? Like, I see we’re almost kind of doing the same things. Sometimes also, other artists start to buy into other people’s work and so on, and then you’re like ‘man, just do your thing, right?’

So, one thing that we need to do is also be adventurous. So, adventurous within yourself. Explore yourself, explore what you need to…. explore yourself, explore your soul, explore what’s around you, then, that tells… then you can be able to paint. Or you would be able to tell an art story from your soul

(But what about how we consume art? Because sometimes, it feels like we as Africans do not consume our art) I think, what needs to change is… like, this is why we are here, it’s called the Mental Revolution, innit? I think we need to change how we look at ourselves. That is all. The moment I feel confident in myself, the moment I feel confident in being Black, and that Black is also good, and Black is wealthy, Black is rich, Black is the top …of the pyramid scheme,… and then, you don’t even have to go out there [out of Africa] to buy a work.

I’ll tell you something: one way or another, I’ll have my say in this world, and then… be it through the work, be it through whatever. And then, the world will hear what we have to say. And I am not talking as Reggie, I am talking as African [sic]. I think that’s the thing for me: that as Africans we’re going to… we’ve got to a point where we’re telling our story unapologetically. And we need to believe in it.

A.L.M: What’s your view on NFTs? DO you ever think you’ll offer any of your work as an NFT?

RK: I think I will at one point… yes. Listen, I am a very strong believer in Ubuntu in terms of I am because you are, whatever the African philosophy. I am a strong believer in Africaness but also, I am not a fool not to realise where we are. We’re living in a capitalistic world. I think what we need to do is, sometimes, we need to wear our capitalistic hats, and then when we wear those hats, we deal as capitalists. But at home, we are Africans.

So, with the rest of the world, we need to deal as capitalists, but within ourselves, we still keep our strong sharing and kind heart and everything else. Because people cannot understand that outside of Africa.

So I’m going to get into NFTs one way or another at some point, maybe not now but I will get into it.

A.L.M: You lost one of your artworks recently. Have you been able to find it?

RK: They hijacked the truck (were you able to get it back?) No, I never got the painting back. It was being shipped to Atlanta in the States, and at the time in America, they had been robbing, ehrr, they had been hijacking courier cars… One of my paintings was in one of those trucks and they took everything, they took even my painting. So I never recovered that painting.

A.L.M: So, apart from your motorbike, and your tent, what are 3 things you cannot do without on your travels?

RK: Hmnn, well I think, toothbrush? I guess that’s important for all of us anyway. If we’re going to be talking here, I talk a lot, you know? So I need to be quite fresh – I hope I’m still fresh, but anyway (chuckles), toothbrush I get and ehrrm… So I have a lot of problems with my stomach, so of course, I need my meds, I guess, for my stomach. And then I…. I don’t know I never really… I never really thought about this. I guess… I guess a phone?

A.L.M: What are your top 3 African destinations?

RK: I think Egypt should be number 1 for every African, in terms of it should be the Mecca for us. Like we should do … pilgrimage. I think all Africans must go on a pilgrimage to Egypt. I think that is something we need to do. Because that tells a story of our past in a sense. And of course, it is not done by the Egyptians that you see now, I mean we all know that. And I think that’s a past… that’s a thing that when you come back from, you’ll be like ‘oh, actually, what happened? How did we lose it?’

Also Sudan, I think Sudan (South or) I mean general Sudan. Because ehmm … North Sudan I think, where the pyramids are. There is no doubt it was by Nubian farers, and then you realise that there are certain things that we knew.

And then, ehrr, I haven’t been to the West, so I’m looking forward… I want to leave the last spot to West Africa. That, I’m still yet to discover.

A.L.M: What are 3 things people don’t really know about you?

RK: Ehrrrmmm… there’s one thing that people don’t know… but I don’t know, ehmmmm…. I don’t know, ehmmmmm……I don’t know! I mean, if I don’t know, then….

The Mental Revolution by Reggie Khumalo is currently exhibiting at the HourGlass Gallery at Victoria Island, Lagos, and will end on the 20th of April 2022.

‘In Conversation with’ by ASPIRE Luxury Magazine celebrates stars, influencers, celebrities and public figures, shining a spotlight on their lives and the incredible stories they have to share.

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We had just exited the worst of a global pandemic and, for Africans living on the continent, an additional uncertainty heightened by protests and economic instability. We daresay almost everyone approached the new year with some level of positivity, as to do otherwise would have been near-fatal.

It is against this that we decided to launch a special feature, the ASPIRE Ones to Watch. We had hoped that by highlighting the fantastic achievements of the young men and women on whose shoulders lie the future of Africa, we all can look forward with some assurance that indeed, tomorrow is brighter than today.

And it appears you shared our sentiments going by the feedback we received. For 2022, we have once again put together a list of young people whose work, businesses and achievements are an inspiration to everyone.

Shamim Kaliisa

To kick off this feature, allow us introduce you to the 26-year-old powerhouse whose innovative approach to the management and eradication of cancer has seen her save thousands of lives. This she has done on a continent where the disease can often be a death sentence, due to a lack of awareness, inefficient government health policies, equipment, specialists and more importantly, a lack of health insurance adoption needed to see treatments to the end.

In her second year in medical school and barely in her 20s, Shamim developed pains in her breast. A medical check revealed she had cancer and tuberculosis, a result made more terrifying by the fact that she had lost her mother to cervical cancer about 7 years prior to her diagnosis.

Thankfully, Shamim survived, although she lost a breast to the painful disease. Following this experience, she founded Community Dental and Reproductive Health Ltd which later evolved into Community Healthcare Innovation Lab or CHIL AI.

In the beginning, CHIL AI offered mobile cancer screening to women in rural Uganda as well as mobile dental services to school children in Uganda. Today, through its mobile app, Keti AI, the technology-driven medical company offers related services like consultation, test results interpretation, referrals, radiology reports, and, automated drug ordering to more than 700,000 women from over 10 countries including South Sudan and the DRC.

Shamim is looking to expand her reach within the continent and beyond – she hopes to offer her services in  Asia and Latin America. With everything she has achieved so far at such a young age and in such a short time, it is safe to say that we have not heard the last of Ms Shamim Nabuuma Kaliisa or CHIL AI.

Laetitia Ky

When it comes to art, there is usually no general definition of what is good or bad, since art appreciation can be rather subjective. However, if you have ever encountered the work of Ivorian artist, Laetitia Ky, it is hard not to immediately appreciate what you see. Laetitia’s art is unique.

Rather than working exclusively on typical surfaces like cardboard, wood or canvas, she often uses her hair to create elaborate sculptural pieces. And not just any kind: more often than not, her creations tell a story about the kind of women Laetitia sees and knows – their struggles, dreams, fears and the challenges society burdens them with.

Laetitia’s work stands out for several reasons. First, she isn’t just beautifying hair or making aesthetically-pleasing styles. Every hairdo is a creative and visual representation of the socio-economic challenges women (mostly African women) undergo.

Secondly, she works with afro-textured hair that has received a lot of bad press over the years. Using it the way she does not only proves the versatility of our hair, it also showcases its literal and metaphorical beauty.

As an artist, Laetitia is constantly growing. Only recently, she added the title ‘author’ to her name. Her body of work is so niche, yet rich and robust that we believe it is only a matter of time before she becomes a truly global force to be reckoned with.

Aristide Loua

At a time when the world is beginning to notice African fashion, Aristide Loua’s Kente Gentlemen is yet another example of how rich and multifaceted this aspect of our culture really is.

For Loua, Kente Gentlemen is not just another fashion brand: it is a sartorial ode to traditional African fashion that he feels compelled to tell after his travels all over the world.

“In such an interconnected world, Kente Gentlemen is a means to discover, value, celebrate, and foster our diverse socio-cultural heritage and identities through fashion, aesthetics, photography and other visual arts,” he says of his brand.

Aristide aims to keep traditional practices alive while celebrating his love for art, social good and fashion. Working with local handweavers, tailors and other artisans, he creates mostly modern suits and shirts for men and women based on intricate stories and concepts that reveal some of our innermost emotions.

The fashion label was part of the Birimian x IFM accelerator program and has been featured in different publications and on different global platforms. African fashion is beginning to take its rightful place on the global stage, and Aristide Loua’s Kente Gentlemen is sure to be one of the key players driving worldwide adoption.

Heba El Dessouky

Sustainability is more than a buzzword, and Heba El Dessouky understands this all too well.

Shortly before the 2020 lockdown, when the fashion industry was beginning to contend with its high levels of waste and its contribution to the climate change crisis, the  Egyptian actress and model, Hébà El Dessouky launched AGAN. (As Good As New)

AGAN is a response to a global challenge with a straightforward idea: get people who have unspoiled luxury items they no longer use or have never used to advertise on a trusted platform where there are eager, interested, paying customers.

Sustainable practices are not as strange to Africans as most people think, even though the concept in itself is relatively new. However, it is almost unheard of to find someone like Heba actively running a business for pre-loved luxury fashion items. She has definitely set a standard for other celebrities to follow, and, whether or not they do, her name is sure to make the list of personalities on the continent that made a substantial impact in sustainability at a time when it mattered the most.

Setsabile Mkhabela

There are many e-commerce brands dedicated to fashion retail in Africa, but not many offer the same services as Setsabile Mkhabela.

Like Heba, Setsabile launched her business in 2020, but unlike AGAN, Boast-ID focuses on emerging fashion and lifestyle brands, not just from Africa, but from all over the world that put sustainability at the heart of their operations.

Boast-ID currently features over 20 brands from Africa, Asia and North America. But for Setsabile, there is still a lot more to be done for emerging fashion and lifestyle brands. Her goal is to create a thriving community of retail fashion businesses in the luxury space that live and breathe sustainability. If her track record is anything to go by, we will be hearing much more from the E-Swatini entrepreneur very soon.

Noxolo Fani

Do you remember what you said you would be when you grow up?

Chances are that your current reality does not match any part of your childhood fantasy. This is not necessarily because, as a child, you had no idea what you wanted, but because you may have gotten confused along the line and had to switch to a career path that felt safe and looked like something you could live with for the rest of your life.

This is exactly why Platform Excel, founded by South African Noxolo Fani, exists.

Using gamification and robotic process automation, Noxolo guides students from grades 8-12 on their career paths. “I lived through not having the right advice at the right time as a young woman. As I grew in my own profession I embarked on a journey to help those living through the same experience,” she explains of her decision to found Platform Excel.

Noxolo Fani continues to seek out opportunities to assist young people discover who they are meant to be, whilst opening doors for them by helping them secure scholarships, internships and positions in different companies.

Sisqo Ndombe

Like Setsabile, Sisqo Ndombe has developed a thriving online platform for creatives, only this time, the e-commerce site is for artists and art lovers looking to invest in works from the African continent.

As an artist living in the DRC, Sisqo Ndombe quickly realised how difficult it was for upcoming African artists to sell their work. He decided to do something about it, and after saving money from a side hustle, Bandombe Galerie was born in 2018.

His first sale happened 8 months after the online art gallery went live but today, it boasts 800 registered artists from 30 African countries and more than 3,000 artworks in its catalogue.

Like other entrepreneurs, Ndombe dreams of more growth, even though he knows that this means more work. He is committed to growing his client base while pushing for the adoption, appreciation and acquisition of African art by Africans and not just the global community. With all he has achieved in the last four years, we dare say he is on the right path to achieving his dream.

The post ASPIRE Ones to Watch, 2022 first appeared on Aspire Luxury Magazine.

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On display will be 33 of Udé’s 64 portraits of Nollywood film stars, directors and producers which he created between 2014 and 2016 using pigment on satin rag paper as his medium. They are all reminiscent of what is considered ‘classical’ portraiture, and while the subjects are glamorous and elegant, the portraits themselves represent an artistic balance of composition, form, and colour.

Says Osahon Akpata, Project Director of Nollywood Portraits: “The radical beauty of these portraits is intended to make a bold statement about the portrayal of our people at the highest art and cultural institutions in the world.”

Akpata has also disclosed that in addition to the exhibition, there will be a global virtual launch event on February 11, 2022. It will feature an interactive session with the artist, Iké Udé, and four Nollywood stars discussing their portrait experience, as well as an exclusive preview of Udé’s documentary short, Nollywood in Focus, and a sneak peek of the exhibition.

“Black History Month is an opportunity to reflect on the contributions of African people across the globe to art, to history, to culture and to our common humanity,” explains Ngaire Blankenberg, Director of the National Museum of African Art, on the significance of the exhibition.

“Whether he turns his camera on himself, flowers or the talented stars of Nollywood, Iké Udé presents a world of beauty, and most powerfully, a world that centres on African beauty.”

What should visitors expect at the exhibition?

There will be so much more going on besides the portraits. Visitors will be able to explore fashion, film clips and interviews with Nollywood celebrities like Alexx Ekubo and Taiwo Ajai-Lycett. Some of the garments styled by the stars will also be on display and a bespoke set with which they can employ to create their own identities with the help of on-site stylists will be available.

Those coming in on the weekend are encouraged to bring their best selves (and outfits) to the museum to be enhanced by an on-site stylist before taking a photograph in an Udé-style set. They can also explore portrait art using interactive tools in which they can combine set, stage and costume to envision lustrous compositions of their own.

Iké Udé: Nollywood Portraits will be a display of African fashion, art, culture and beauty, and visitors can expect to be transported to a world magical, interesting world where everything is possible.

Source: The Eagle Online

The post Iké Udé: Nollywood Portraits puts African Beauty and Fashion on Display at the Smithsonian first appeared on Aspire Luxury Magazine.

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May 2022 grant us all the best of life and its blessings!

You might be right to say that it’s too late in the year for new year greetings, but then again…just one more from a brand you love should not be too much, right?

2021 was definitely an interesting year! We all went into it with boundless expectations and tonnes of enthusiasm. Maybe it was because we were all grateful to be alive having escaped mortality from Covid 19, or was it because we all had a renewed awareness of what was truly important in life and therefore had more zeal for life and living?

Whatever it was for you, it was especially interesting for us at ASPIRE. We worked with great brands who were all committed to delivering the best customer experiences while the luxury industry in Africa and across the world began to pick up with amazing campaigns, and as always we featured some pretty cool people from all walks of life.

Opening up our top stories for 2021 was one of the brands that made our list of beautiful, thoughtful gifts for Valentine’s – The Orishiriri Cookbook by Tola Akerele, a rich compilation of Nigerian dishes and recipes that is a sure lifesaver on days when you are not sure of what to prepare.

We followed this special feature with the ASPIRE Ones to Watch for the year. We don’t believe you missed it, but in case you did, just click on the link to find out who made the cut.

PS: We are planning something extra special for Valentine’s this year, so make sure you’re subscribed to our newsletter and are following our social media handles to be in the loop!

March

Next up was our compilation of 12 Dubai attractions that were slated to launch last year. Still undecided on where to vacation with the family this year? The article may provide useful recommendations.

April

Counterfeiting of luxury goods has always been a problem, which is why the news that LVMH, Cartier and Prada had joined forces on Blockchain to fight this practice was another top story for 2021.

And days later, we published our first book review of the year. The book in question? Bringing up Race by Uju Asika.

June

Our top story for June was Bentley’s announcement that it had teamed up with Lifescore to introduce an adaptive music feature in its electric vehicles. The first Bentley EV is scheduled to come out in 2025, and if you’ve ever wanted to own one, now is a good time to start working towards it.

July

Nigerian-born Bunmi Agusto had her first solo exhibition in July, and we had a sit-down with her to discuss her journey into the world of art as well as the exhibition.

September

September’s top stories started with an expose on Winston leather, a Nigerian leather and fashion accessories brand that has its eyes on global domination.

It was followed by the findings of a luxury investment report from Knight Frank on the most valuable alternative luxury assets for the year (Hint: it isn’t what you think!) and ended with Veuve Cliquot’s Bold Conversations that held for the first time in Lagos. Although the discussions centred around the female gender, the lessons gleaned are useful for anyone navigating the corporate world today.

October

Another of our art exhibition spotlights, Framing Her exhibition by GAIA Africa in partnership with Aworanka made its debut.  We also reported on a new type of luxury vacation, one that combines education with adventure.

October was also the month that saw our Editor in Chief, Bella Ikeme, make the Most Influential People of Africa MIPAD Global Top 100 Under 40 class of 2021 list. The honour was in recognition of all her work with ASPIRE to promote African and African inspired brands within continent and around the world. We invite you to go back to the article to read all about it.

November

November’s first top story was our review on the Beauty West Africa exhibition, an event that unites beauty brands from all over the African continent and the world in one space.

Sadly, we lost legendary fashion designer and polymath, Virgil Abloh, this month. One of his last known collaborations, Project MAYBACH with Mercedes Benz, was our second top story for November.

December

Closing our top stories for 2021 rather nicely was the Patek Phillipe Nautilus Ref 5711 for Tiffany&Co. Wonder what is so special about this unique, ultra-limited-edition timepiece? For the last time, we invite you to click on the link in case you missed the story.

So you see, we had some really good times and brought you some really great content.

On behalf of ASPIRE, I would like to say a big THANK YOU! to our team, content creators and contributors, partners and collaborators, clients and YOU!

We appreciate your continued interest in all that we have to offer, and for finding our content valuable and relevant. We have so much more planned for you all in 2022…we are going to make some magic!

ASPIRE is fired up to feature even more amazing content, organise thought-provoking industry events, and bring you insights and stories from all the people and luxury brands that you know and those that you should!

Have a great 2022!

xoxo

Bella Ikeme

Editor in Chief

ASPIRE Luxury Magazine 

The post From the Editor: The Best of ASPIRE in 2021 first appeared on Aspire Luxury Magazine.

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The Ones Who Keep Walking features more than 20 defiantly optimistic voices from across Africa including one of the biggest African artists of the moment and social media sensation, CKay (Nigeria); rapper and songwriter Sampa the Great (Zambia); dancer and artist Kamo Mphela (South Africa); producer and DJ Nandele (Mozambique); legendary photographer James Barnor (Ghana); fashion designer Loza Maléombho (Ivory Coast); creative collective Urban Pitchaz (Kenya) and, Bose Ogulu AKA Mama Burna (Nigeria) manager-mother to global superstar and Johnnie Walker partner, Burna Boy.

The documentary explores the different cultures, passions and challenges on the continent through never before heard stories, and in-depth conversations that also provide an insight into how fresh creative energy, sheer determination, and a pioneering spirit is bringing authentic African expression to the world.

Director and Forbes 30 under 30 filmmaker, Amarachi Nwosu says, “Making The Ones Who Keep Walking with Johnnie Walker was an opportunity to tell a story that reimagines how we see Africa and the creative renaissance taking place. Telling powerful stories from the Afrofuturist lens is what inspires me, so having the opportunity to shine a light on these amazing people and their incredible journeys, all whilst showcasing the spirit and beauty that embodies Africa, is a dream come true. I can’t wait for everyone to see it”

Produced by Something Originals and a team of 200+ creatives and talent from across Africa, The Ones Who Keep Walking picks up on the closing provocation of The Man Who Walked Around the World – ‘what’s next?’ – to shine a light on those who embody the spirit of Keep Walking and who, on their own terms, are forging a bold new direction for their countries, cultures and the World.

You can stream the documentary here, or you can watch it on the following DSTV channels: Africa Magic Family, Maisha Magic East, Zambezi Magic, Mzansi Magic, Mzansi Wethu, Channel O and Canal+ owned TV5 Monde.

Source: PR Newswire

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