Tola Akerele calls for artist development pipelines

By Henry Akubuiro

Mrs. Tola Akerele, General Manager and Chief Executive Officer of the National Theatre, has called on stakeholders in Nigeria’s art sector to design unique programming that creates lasting careers for artists rather than fleeting visibility.

Speaking at the “Investing in Creative Futures: Culture, Capital & Collaboration for Change” event recently, Mrs. Akerele addressed what she described as a persistent challenge in the Nigerian art market: galleries and fairs that generate excitement but fail to build sustainable collector relationships or market access for emerging artists.

The high-level convening was hosted by Eden Venture Group, The World Bank, and the MTV Staying Alive Foundation. It brought together investors, policymakers, and cultural leaders to explore financing pathways for Africa’s creative economy.

Mrs. Akerele participated in a panel discussion entitled “Beyond Celebration: How Cultural Gatherings Shape Identity, Economy, and Development” alongside Aisha Augie, Lola Soneyin, Tiwa Medubi, and Bukky Akomolafe. Katharina Link moderated.

She pointed to Soto Gallery’s Plus234 Art Fair as an example of how galleries can create “pipelines” for artist development. The gallery employs storytellers who guide visitors through exhibitions, helping collectors understand both the work and the artists behind it.

Mrs. Akerele emphasised that this approach represents a shift from transactional art viewing to relationship building. She described how visitors leave these experiences with a clearer sense of the context surrounding the work and the broader vision behind the programming.

She stressed the need for galleries to be intentional about supporting artists beyond exhibition space. “You have to be very intentional because we have such amazing talents,” she said, describing programs that help artists improve their practice and connect with international markets.

Mrs. Akerele noted that Nigeria’s art ecosystem was seeing younger artists and younger collectors entering the market simultaneously. She argued that sustained programming across multiple events creates cumulative impact, building a pipeline where emerging talent could progress through different stages of development.