Here’s a bold truth: Nigeria’s art scene is buzzing with talent, but too often, artists are left with fleeting moments of fame instead of lasting careers. And this is the part most people miss: the lack of structured pipelines for artist development is holding back the industry’s full potential. Tola Akerele, the General Manager and CEO of the National Theatre, is sounding the alarm—and her call to action is both urgent and transformative.
In a recent address at the high-profile event Investing in Creative Futures: Culture, Capital & Collaboration for Change, Akerele spotlighted a critical issue: while galleries and art fairs generate excitement, they rarely build sustainable pathways for emerging artists to thrive. Co-hosted by Eden Venture Group, The World Bank, and the MTV Staying Alive Foundation, the event brought together investors, policymakers, and cultural leaders to tackle financing challenges in Africa’s creative economy. But Akerele’s message stood out—it’s not just about visibility; it’s about creating systems that nurture artists long-term.
During a panel discussion titled Beyond Celebration: How Cultural Gatherings Shape Identity, Economy, and Development, Akerele joined luminaries like Aisha Augie, Lola Soneyin, Tiwa Medubi, and Bukky Akomolafe to explore how cultural events can drive meaningful change. Moderated by Katharina Link, the conversation dove into the gap between celebrating art and sustaining artists. But here’s where it gets controversial: Akerele argues that the art world’s transactional nature—focusing on sales over relationships—is failing both artists and collectors.
To illustrate her point, Akerele highlighted Soto Gallery’s Plus234 Art Fair, which takes a unique approach by employing storytellers to guide visitors through exhibitions. This method doesn’t just sell art; it builds connections between collectors and artists, fostering a deeper understanding of the work and its context. Akerele calls this a shift from transactional viewing to relational engagement—a model she believes could revolutionize artist development.
But she didn’t stop there. Akerele emphasized that galleries must go beyond providing exhibition space. “You have to be very intentional,” she urged, pointing to programs that help artists refine their craft and access international markets. With younger artists and collectors entering Nigeria’s art ecosystem simultaneously, she sees an opportunity to create cumulative impact through sustained programming—a pipeline where talent can grow across stages.
Here’s the thought-provoking question: Are we willing to rethink how we support artists, or will we continue prioritizing short-term gains over long-term careers? Akerele’s vision challenges us to act—and the conversation is just beginning. What’s your take? Do you agree with her approach, or do you see another path forward? Let’s discuss in the comments.
