In Nigeria’s vibrant art landscape, the role of the collector is rapidly evolving. As the nation's awareness and interest in the art industry gains momentum, collectors are not just patrons; they are cultural stewards, shaping both market dynamics and artistic narratives. In the exhibition, "Collecting Now: Perspectives on Contemporary Art Collecting in Nigeria" art enthusiasts are offered a rare glimpse into the philosophies driving this new wave of art collecting.
Bringing together works from six prominent Nigerian collectors, the exhibition reveals a spectrum of personal and cultural motivations—some collectors aim to preserve African heritage, while others focus on modern social and political discourses. This eclectic mix highlights how personal passions and philosophies influence their acquisitions, making the exhibition as much a reflection of the collectors themselves as the art they collect.
In this interview, we speak to the Director of the Yemisi Shyllon Museum of Art, Jess Castellote on how these collectors not only support emerging artists but also shape the future of Nigerian art, positioning it on a global stage. Their impact goes beyond investment; they are redefining cultural values through the art they choose to champion.
Art Report Africa: How do the personal philosophies and experiences of the featured collectors influence their specific choices in contemporary art?
Jess Castellote: It’s fascinating how personal philosophies and experiences shape what collectors focus on. In Nigeria—and anywhere—some are all about preserving Nigerian and African identity, choosing pieces with traditional motifs or historical narratives. Others are drawn to contemporary social and political issues, and they collect art that comments on societal challenges or advocates for justice. Some see art as a “pleasurable investment.” They appreciate the cultural and emotional value of the works but also keep an eye on potential financial returns. Many top collectors, often with business backgrounds, are good at spotting market trends. Collecting is a mix of passion and strategy, with many developing deep personal connections to pieces that resonate with their life experiences.
ARA: Are there common themes or underlying motivations that unite their approaches?
J.C: Absolutely. Even though the collectors we’re showcasing in "Collecting Now" come from diverse backgrounds, there are definitely some common threads. One big motivation is the desire to preserve and promote Nigerian and African culture. Many of them also want to place Nigerian art on the global stage, showing that it’s part of a broader contemporary conversation. They’re generous with their support for emerging artists too, which is great because it helps sustain the art scene here. Another theme is that they don’t see art as just decoration—it’s something more meaningful to them, often with an emotional connection. And, yes, they might also consider the investment side, but the emotional and cultural significance is always there.
ARA: Given the influence of collectors on the art market, how do the featured collectors balance their role as gatekeepers with their desire to support emerging artists and unconventional practices?
J.C: That’s a great question because it’s really about finding that balance. On one hand, they are influential gatekeepers—they shape what gets attention in the market. But they’re also keen on supporting younger or lesser-known artists. Collectors like Kola Aina and Niyi Adenubi, for instance, actively seek out emerging talent. They provide platforms for these artists to gain visibility, which helps broaden the scope of what’s considered significant in Nigerian art. It’s a long-term game, though. Many of these collectors don’t expect immediate returns—they’re patient. Prince Yemisi Shyllon, for example, has been a huge advocate for using his collection to inspire and teach young artists, shaping not only the market but also the creative development of the next generation. So, while they do have commercial interests, they’re careful to balance that with a real passion for the art itself.
ARA: What is the intended impact of this exhibition on the Nigerian and global art community? Does it aim to educate, inspire, or provoke discussion about specific issues within contemporary African art?
J.C: We’re aiming for a mix of all three—education, inspiration, and sparking conversation. Through "Collecting Now," we really want to highlight the significant role that collectors play in the art world, especially in shaping contemporary Nigerian art. We hope visitors walk away with a new appreciation for the power of collecting, both from a personal and a cultural perspective. At the same time, we want to inspire future collectors and artists by showing how personal passion can build collections that leave a lasting impact. And yes, provoking discussion is also key. We want people to think about the art market, the role of collectors as gatekeepers, and how that affects which works get celebrated. It’s all part of our mission at YSMA to build a bridge between the Nigerian and global art worlds and reinforce the importance of art as a means of cultural continuity.
ARA: How does the exhibition foster dialogue and engagement between collectors, artists, and the general public? Are there specific initiatives or programs in place to encourage interaction and participation?
J.C: When we first started planning "Collecting Now," our goal was to do more than just display beautiful artworks. We really wanted to create a space where collectors, artists, and the public could connect and have meaningful conversations about contemporary Nigerian art. We’ve organized public talks and panel discussions, where the collectors themselves will share their experiences and thoughts on collecting. It’s a great opportunity for people to hear firsthand what drives them. We’re also doing curator-led tours with Charles Udeh, the exhibition’s curator. These tours offer deeper insights into how the exhibition was put together, the choices behind the artworks, and the unique perspectives of each collector. On top of that, we’ve set up educational outreach programs that target schools and university students. We want young people to engage directly with the exhibition, encouraging them to think critically about art and maybe even inspire them to become future collectors or artists. It’s all about making the exhibition interactive and accessible to a wide range of people.
ARA: How does this exhibition contribute to the museum's broader mission and goals? What are the long-term aspirations for the museum and its role in promoting contemporary African art?
J.C: The "Collecting Now" exhibition ties in perfectly with YSMA’s mission, which is all about serving and engaging diverse audiences while advancing knowledge about Nigerian art. One of the ways we do this is by creating exhibitions that help people understand the role collectors play in shaping the contemporary art landscape. But we don’t just want people to learn about art—we want them to learn through art. This exhibition encourages visitors to reflect on societal issues, personal philosophies, and how artistic practices evolve over time. Long-term, the museum has big aspirations. We want to position Nigerian art—and African art more broadly—on the global stage. We see YSMA becoming a key player in shaping the narrative of contemporary African art, helping it gain the visibility and appreciation it deserves worldwide. The exhibition also aligns with Pan-Atlantic University’s mission of promoting holistic education. It serves as an educational tool that fosters critical thinking and cultural awareness, not just among students but in the wider community as well.
ARA: How do the collections of these individuals contribute to defining modern African art? Are there specific characteristics or qualities that they prioritize in their selections?
J.C: These collectors play a huge role in shaping what we think of as modern African art. They’re not just collecting for themselves—they’re defining what gets valued and remembered in the broader art world. One of the things they tend to prioritize is authenticity—whether that means preserving traditional African aesthetics or embracing more modern, experimental styles. You’ll see that many of them are interested in art that speaks to African identity but in a contemporary context. Another thing they focus on is innovation. They’re not afraid to collect works that push boundaries, whether in terms of the materials used, the concepts explored, or the techniques involved. They also love to support emerging artists, especially those whose work engages with social and political issues—art that really says something about the world we live in today. It’s not just about beauty; it’s about art that provokes thought and challenges existing narratives.
ARA: What are the primary challenges and opportunities facing collectors of contemporary African art today? How are these collectors addressing these challenges and capitalizing on these opportunities?
J.C: Navigating the global art market is tough, with African art often undervalued or misunderstood. Collectors face the challenge of getting African artists the recognition they deserve. Supporting emerging artists in a competitive market with limited resources is another hurdle. But these collectors are tackling these issues by promoting African art internationally and investing in young, less-established artists. I am convinced that the rising global interest in African art presents exciting opportunities. Collectors are not passive spectators, they are actively shaping how African art is perceived and celebrated, building the art ecosystem in Nigeria. They influence cultural narratives, deciding which stories and voices are amplified, which is a powerful role. We shouldn’t underestimate the influence of collectors.
ARA: How do you envision the role of collectors in shaping the future of contemporary African art? What new trends or developments do you anticipate?
J.C: Looking ahead, I think collectors are going to play an even bigger role in shaping the future of contemporary African art. They’re not just buying art—they’re acting as cultural stewards and trendsetters, and their influence will continue to grow. One trend I see coming is the rise of digital art and NFTs. African artists are already exploring this space, and forward-thinking collectors are starting to get involved. It’s a new frontier that could really democratize access to the art market and let more artists reach international audiences. We’re also seeing more cross-continental collaborations. African artists are increasingly working with others from the diaspora or around the world, and collectors can help foster these collaborations. As more international institutions focus on African art, I think we’ll see a greater institutionalization of African art—with more museums and galleries including African works in their collections and exhibitions. And finally, I think we’re moving towards a mindset where collecting is seen more as cultural philanthropy than just an investment. Many collectors are already lending their collections to public institutions or setting up foundations, and I expect that trend to continue.
Interviewed by Obidike Okafor.
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