The Tate Modern's latest exhibition, "Nigerian Modernism," is shaking up the art world by reframing the story of modern African art. Curator Osei Bonsu describes the show as a "cultural restoration in real time" that corrects the oversight of Nigerian Modernism being relegated to a footnote in mainstream art history.
Featuring 59 artists over a period of 50 years, the exhibition boasts 300 artworks that open up and complicate our understanding of what it means to be Nigerian. By showcasing the works of a diverse range of artists, from Aina Onabolu's elegant portraits to Bruce Onobrakpeya's linocut triptych "The Fourteen Stations of The Cross," the show paints a rich tapestry of Nigerian identity that defies easy categorization.
The exhibition explores various art movements and styles, including the Zaria Arts Society, which rebelled against Eurocentric curricula to focus on indigenous representation. It also delves into the works of artists like Jimo Akolo, whose "Fulani Horsemen" series features three figures astride equine companions in vibrant colors.
One room is dedicated exclusively to Uzo Egonu, a boldly graphic painter who merged European Modernism with Igbo sculpture. His "Stateless People" paintings have been reunited here for the first time in 40 years, offering a unique glimpse into his innovative style.
Throughout the exhibition, curator Osei Bonsu notes that these artists did not have access to traditional arts education but instead relied on their cultural heritage and community networks to create works that are both deeply personal and universally relatable. As one writer puts it, "There is really only one word for what I feel about these new contributions to the Lagosian scene: gratitude. They are emerging, these creatives, in spite of everything; and they are essential because they are the signs of hope in a place that, like all other places on the limited earth, needs hope."
Ultimately, "Nigerian Modernism" is more than just an exhibition – it's a testament to the power of art to transcend borders, cultures, and identities. By amplifying the voices and works of Nigerian artists, the show offers a fresh perspective on modern African art and its significance in the global art world.
Featuring 59 artists over a period of 50 years, the exhibition boasts 300 artworks that open up and complicate our understanding of what it means to be Nigerian. By showcasing the works of a diverse range of artists, from Aina Onabolu's elegant portraits to Bruce Onobrakpeya's linocut triptych "The Fourteen Stations of The Cross," the show paints a rich tapestry of Nigerian identity that defies easy categorization.
The exhibition explores various art movements and styles, including the Zaria Arts Society, which rebelled against Eurocentric curricula to focus on indigenous representation. It also delves into the works of artists like Jimo Akolo, whose "Fulani Horsemen" series features three figures astride equine companions in vibrant colors.
One room is dedicated exclusively to Uzo Egonu, a boldly graphic painter who merged European Modernism with Igbo sculpture. His "Stateless People" paintings have been reunited here for the first time in 40 years, offering a unique glimpse into his innovative style.
Throughout the exhibition, curator Osei Bonsu notes that these artists did not have access to traditional arts education but instead relied on their cultural heritage and community networks to create works that are both deeply personal and universally relatable. As one writer puts it, "There is really only one word for what I feel about these new contributions to the Lagosian scene: gratitude. They are emerging, these creatives, in spite of everything; and they are essential because they are the signs of hope in a place that, like all other places on the limited earth, needs hope."
Ultimately, "Nigerian Modernism" is more than just an exhibition – it's a testament to the power of art to transcend borders, cultures, and identities. By amplifying the voices and works of Nigerian artists, the show offers a fresh perspective on modern African art and its significance in the global art world.
. Can't they just let some new stuff happen instead of constantly rehashing what's already been done? I mean, I get it, Nigerian Modernism is important and all that jazz... 59 artists over 50 years is a lot to take in 
. And don't even get me started on the Zaria Arts Society - Eurocentric curricula? How original 
. Can we please just have some fresh faces for once? I'm over these old-school art movements and styles 
.
. I mean, 59 artists over 50 years sounds like a lot, but is it just a case of 'collecting all the Nigerian Modernist artworks' rather than actually telling a cohesive story? And don't get me wrong, Aina Onabolu's portraits look lovely, but isn't it time to move on from portrait art and give some other mediums a chance? Also, I'm not convinced that relying solely on cultural heritage and community networks is enough to create 'universal' works of art 
. I'd love to see more experimentation and innovation in this exhibition.
I think this exhibition is like a breath of fresh air for us... I mean, it's amazing to see so many talented Nigerians being recognized on the international stage. The way they're showcasing all these different art movements and styles is really cool - it's like you can see the diversity and richness of Nigerian culture coming alive through the art 
. And what's even more inspiring is that most of these artists didn't have any formal training, but still managed to create works that are so beautiful and meaningful... it just goes to show that art can come from anywhere! 
. The fact that these artists were able to create something beautiful despite not having access to traditional arts education just gives me chills. Their stories are so inspiring and I love how the curator is highlighting their contributions to modern African art. It's all about amplifying the voices of Nigerian artists and giving them the recognition they deserve 
. This exhibition is like a ray of hope for our global community – it reminds us that art has the power to bring people together, even across borders and cultures 
uzo egonu's paintings are straight up eye candy 
! Finally giving Nigerian Modernism the recognition it deserves 
. All hail Osei Bonsu for correcting the art history books 
!
they got like 59 artists from over 50 yrs showcasing their work and it's so fire 
i mean, have u seen bruce onobrakpeya's linocut triptych? 
it's a whole thing 
The fact that they've reunited Uzo Egonu's paintings after 40 years is just mind-blowing... what a game-changer for art history! 
️, and we were sipping tea like royalty. Anyway, back to this exhibition... have you ever noticed how some paintings can transport you to a different time and place? Like, I saw this old movie the other day where Tom Hanks plays a sailor, and it reminded me of my grandfather's stories about sailing on Lake Michigan 
. Anyway, what really got me thinking is how art can be like that too – taking you on a journey to places you never knew existed...
And curator Osei Bonsu's vision for this exhibit is just pure genius. He's not just showing us Nigerian art, he's giving us a window into the country's culture and identity. 
. The problem is, now I have to scroll through 10 pages of other art to find the ones I actually want to see 
. And don't even get me started on the website – it's like they took all the SEO buzzwords and threw them into a blender without any thought for user experience 
. Can't they just make it easy to navigate, you know? 
just saw that there's another mass extinction event looming due to human activities... scientists say we're running out of time to save the last remaining coral reefs 
worst part is, it's not like we didn't know this was coming... climate change has been warning signs for decades, and yet here we are 
300 artworks can't fix our addiction to plastic... 
I'm not saying Osei Bonsu is biased or anything, but have you seen the selection of artists? It's like they chose only those who fit a specific narrative. And what's with the emphasis on community networks and cultural heritage? Sounds like an excuse to overlook any potential controversies... 
it's crazy to think that all these amazing artists were overlooked for so long because of Eurocentric curricula 
anyway, seeing all the artworks on display has left me feeling grateful for creatives who refused to be silenced and kept their culture alive 
Uzo Egonu's paintings are literally stunning! 
And it's not hard to see why - these artists are redefining what it means to be Nigerian and challenging Eurocentric perspectives on art history 