The Nigerian Pavilion at the 2024 Venice Biennale emerged as a standout, capturing the attention of audiences and critics alike.
‘Nigeria Imaginary’ Graces Nigeria Pavilion at 60th Venice Biennale. (Photo Credit: Marco Cappelleti Studio.) Courtesy of Museum of West African Art (MOWAA)
Dubbed one of the “8 hits of the Venice Biennale” by The New York Times, this pavilion commanded a presence that reverberated from the halls of Palazzo Canal to the banks of the River Niger. Deeply entrenched in Nigerian culture, each installation radiated a sense of national pride, inviting viewers to delve into the rich culture of Nigeria’s past, present, and imagined future.
Aindrea Emelife, the curator of the “Nigeria Imaginary” pavilion at this year’s Venice Biennale, (Photo Credit: Matteo de Mayda , The New York Times)
Entitled “Nigeria Imaginary,” the exhibition curated by Aindrea Emelife, Curator of Modern and Contemporary Art at the Museum of West African Art in Benin City, Nigeria, was a symphony of voices spanning generations and continents.
L-R: Fatimah Tuggar, Toyin Ojih Odutola, Aindrea Emelife (Curator) Onyeka Igwe, Tunji Adeniyi-Jones, Abraham Oghobase, Ndidi Dike and (seated), Yinka Shonibare and Precious Okoyomon. (Photo Credits: Jason Schmidt)
Featuring works by a diverse group of artists, including luminaries such as Yinka Shonibare CBE RA, Tunji Adeniyi-Jones, and Toyin Ojih Odutola, Ndidi Dike, alongside talents like Onyeka Igwe Precious Okoyomon, Fatima Tuggar, the pavilion offered a multifaceted exploration of Nigerian identity.
“Celestial Gathering,” by Tunji Adeniyi-Jones, on the ceiling of the palazzo (Photo Credit: Museum of West African Art (MOWAA)
Commissioned by Governor Godwin Obaseki of Edo State on behalf of Nigeria’s Federal Ministry of Art, Culture, and the Creative Economy, the exhibition showcased site-specific works throughout the historic Palazzo Canal in Venice’s Dorsoduro district.
Yinka Shonibare CBE RA, Monument to the Restitution of the Mind and Soul, 2023. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Museum of West African Art (MOWAA)
Yinka Shonibare CBE RA’s exploration of the Benin Expedition of 1897 challenged conventional narratives surrounding looted artefacts, while Toyin Ojih Odutola envisioned a new world anchored in the spirit of the Mbari House.
Toyin Ojih Odutola installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: Museum of West African Art – MOWAA)Toyin Ojih Odutola, Left: Nwanyeruwa (Aba Women’s Rebellion), 2023-2024; Center: Congregation, 2023; Right: Onye ụtụtụ (Morning Person), 2023. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Image: Marco Cappelleti Studio. Courtesy: Museum of West African Art (MOWAA)Onyeka Igwe installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: Museum of West African Art – MOWAA)Abraham Oghobase installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: Museum of West African Art – MOWAA)
From Onyeka Igwe and Abraham O. Oghobase’s interrogation of colonial legacies to Tunji Adeniyi-Jones’s reimagining of Nigerian modernism, each artist offered a unique perspective on Nigeria’s past, present, and future.
Fatimah Tuggar, Light Cream Pods (Excerpt), 2024. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Image: Marco Cappelleti Studio. Courtesy: Museum of West African Art (MOWAA)Fatimah Tuggar, Light Cream Pods (Excerpt), 2024. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Image: Marco Cappelleti Studio. Courtesy: Museum of West African Art (MOWAA)Precious Okoyomon installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: C&)Precious Okoyomon’s steel-framed structure being installed at the National Pavilion of Nigeria, 60th Venice Biennale. (Photo Credit: Matteo de Mayda , The New York Times)
Fatimah Tuggar presented a utopian vision for a new Nigeria, while Ndidi Dike delved into the intersection of the 2020 EndSARS protests and the global Black Lives Matter movement. Precious Okoyomon transported viewers into a dreamlike realm, encouraging them to envision Nigeria through the eyes of its contemporary inhabitants.
Ndidi Dike installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: Museum of West African Art – MOWAA)Ndidi Dike installation view at the National Pavilion of Nigeria, 60th Venice Biennale. (Image Courtesy: Museum of West African Art – MOWAA)
Beyond its artistic merit, the Nigerian Pavilion at the Venice Biennale served as a testament to the power of art in fostering cultural exchange and understanding.
Ndidi Dike, Blackhood: A Living Archive, 2024. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Image: Marco Cappelleti Studio. Courtesy: Museum of West African Art (MOWAA)Ndidi Dike, Blackhood: A Living Archive, 2024. Installation view, Nigeria Imaginary at the Nigeria Pavilion at the 60th International Art Exhibition — La Biennale di Venezia. Image: Marco Cappelleti Studio. Courtesy: Museum of West African Art (MOWAA)
By providing a platform for Nigerian artists to engage with global audiences, the pavilion facilitated a dialogue that transcended borders and challenged preconceptions. In doing so, it underscored Nigeria’s enduring legacy as a vibrant hub of creativity and innovation on the world stage.
Derrick Chidumebi is a creative writer and growth marketer hailing from Lagos, Nigeria. He holds a Bachelor's degree in Industrial Chemistry from Olabisi Onabanjo University, Nigeria, and is the founder of The Eko Place, a media/marketing agency based in Lagos, Nigeria. Currently, he serves as a writer for Art Network Africa.
