Obaseki-led Nigeria Pavilion Is Centre of Attraction at Venice Biennale with Over 50,000 Visitors

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Since its opening at the 60th International Venice Biennale in Italy, the Nigeria Pavilion led by Governor Godwin Obaseki of Edo State as Commissioner, has attracted over 50,000 art enthusiasts, and received widespread acclaim from the international press.

Venice Biennale is an international cultural exhibition hosted annually in Venice, Italy by the Biennale Foundation. It is arguably the world’s most prestigious event in the arts calendar, which brings together innovators, change-makers, and thought leaders to articulate and curate conversations on the art of the world today.

Governor Obaseki, who has served as two-time Commissioner of the Nigeria Pavilion, was nominated by the Federal Government of Nigeria on the back of his government’s landmark successes in promoting Edo’s rich culture, arts, and heritage and advancing the economic potential of tourism in the state.

Obaseki’s nomination as the Commissioner of the Pavilion made history as the first time a sub-national is leading the Nigerian delegation to such an event.

The International Art Exhibition runs from Saturday, April 20, to Sunday, November 24.

The Pavilion, titled Nigeria Imaginary, has become a major attraction, drawing art lovers, curators, and critics, and strengthening Nigeria’s image as an emerging creative hub.

The exhibition was organised by the Museum of West African Art (MOWAA), in collaboration with Nigeria’s Federal Ministry of Arts and Culture and the Creative Economy.

The pavilion showcased contemporary Nigerian arts while highlighting MOWAA’s vision and curatorial skills, attracting global interest in Nigerian and West African modern art.

Governor Obaseki noted that the Nigerian Pavilion at the exhibition, had showcased the rich potential of contemporary Nigeria art, which mirrors the peculiarities of the country’s present challenges and hopes.

On the development of MOWAA, which he said ranked as the first genuine effort to establish a world-class centre that would harness the economic, social and cultural value of Edo State’s rich heritage, Obaseki said, “I can say unequivocally that the thing that I am the most proud of is igniting the spark that has become the fire called MOWAA, the Museum of West African Art, and the 13 acres Cultural District which is now under construction in the historic part of Benin City in Edo State. It is my aspiration that it will serve as the venue for the homecoming of this Nigeria Imaginary exhibition when it comes to Nigeria.”

Over the past six months, several notable Nigerians have visited the pavilion. Among them was Nobel laureate, Professor Wole Soyinka, who described the experience as “artistic, historic, and evocative.”

He praised the diverse elements within the exhibit, capturing both lyrical and contrasting aspects of Nigerian society.

Musa-Musawa also emphasised the importance of public-private partnerships like the one with MOWAA, highlighting the pavilion as the beginning of a long-term collaboration.

Curated by MOWAA’s Aindrea Emelife, the pavilion featured works by eight Nigerian and Nigerian diasporic artists, including Tunji Adeniyi-Jones, Ndidi Dike, Onyeka Igwe, Toyin Ojih Odutola, Abraham Oghobase, Yinka Shonibare CBE RA, Fatimah Tuggar, and Precious Okoyomon.

Their art explored complex themes such as history, identity, and the future.

The pavilion’s success is evident in the widespread international media coverage it received. Major outlets like The Financial Times, The Guardian, The Washington Post, Le Monde, and The Times UK featured the pavilion extensively.

It also gained attention from leading art publications like Artforum, The Art Newspaper, ARTnews, ArtReview, and Frieze. Additionally, lifestyle outlets such as Vogue and Hemispheres covered the exhibition, and it was picked up by global news outlets like BBC, NBC News, and The Associated Press.

The pavilion was recognised among the best at the Biennale, receiving mentions in Art in America, Forbes, Harper’s Bazaar, The New York Times, and W Magazine, among others.

Siddhartha Mitter of The New York Times described the Nigeria Pavilion as “one of the most ambitious African presentations ever at the Venice Biennale.”

Looking ahead, MOWAA plans to bring Nigeria Imaginary back home for a showcase at its campus in Edo State, Nigeria.

Aindrea Emelife expressed MOWAA’s commitment to ensuring the exhibition’s success continued even after the Biennale.

The Museum of West African Art (MOWAA) was founded in 2020 as an independent, non-profit organisation focused on preserving heritage, expanding knowledge, and promoting West African arts and culture.

MOWAA’s Creative Campus in Benin City, Edo State, spans 15 acres and includes multiple buildings and public spaces for art display, performances, and commerce.

It features the Rainforest Gallery, an exhibition building within a replanted rainforest, the Art Guesthouse for visiting artists and researchers, and the Artisans Hall, which reimagines traditional Benin architecture as a space for contemporary artisans to showcase their work. Through partnerships, MOWAA connects contemporary art with West Africa’s rich heritage, creating opportunities for artists and scholars from Africa and its Diaspora.