Founder and creative director of Retro Africa, a gallery in Abuja, Nigeria, Dolly Kola-Balogun is also a hotelier and a champion of artists from across Africa. Working with those at the forefront of art across the continent, Dolly is working as a consultant for the Kwara State government too, helping to create a new contemporary art institution that will open at the end of this year and which is set to be on par with Zeitz MOCAA.
Le vernissage de l’exposition inaugurale de « Western Africa Art » s’est tenu, jeudi 25 février 2021, à la Galerie Medina de Bamako. Cette exposition scelle le début d’une collaboration entre la Galerie Medina de Bamako (Mali) et la galerie Retro Africa d’Abuja (Nigeria), en vue d’une intégration « artistique ».
“I love colors. […] I really like bright colors,” professes Nigerian artist Williams Chechet. It is a long-running love story dating back to his childhood before his memory of such love was even formed. “My mum,” he continued, “told me I was really attracted to bright lights.” Forty years on, his artistic practice is a testament to his unwavering love of colors, but it is also about a lot more.
Dolly Kola-Balogun, although only 27 years old, is an impressive person from the second we speak to her. A gallerist, hotelier and entrepreneur, she describes herself as always having been the youngest person in the room, but not in a negative way. Calling in from Abidjan, Ivory Coast, she tells The Sybarite all about her quest to scout the African continent for artistic talent, the importance position art has in social movements worldwide and the advice she has for young people trying to make it on their own.
Williams Chechet’s solo ‘Hyperflux’ exhibition, which runs until the 14th of March, currently showing at Retro Africa in Nigeria’s capital Abuja, embodies the meaning of being African in a modern context. Vibrant pops of colour are layered with images of pop culture, Nigerian symbols, politics, and tribal leaders.
The Nigerian art wizard's 2020 exhibit interrogates both the history and politics in Africa.
Williams Chechet is one of the Nigeria’s rising stars, and if his latest exhibition is anything to go by, there are big things ahead for him.
In conversation with Williams Chechet, the artist shares deep insight into his practice and inspirations. Working as a curator in Lagos, I pay keen attention to emerging and established artists who use technology to facilitate new ways of thinking. My first encounter with Chechet’s work was in 2017 at his debut solo exhibition. His upward trajectory is evident as I now speak to him at a point where he has clearly harnessed the power of technology and art.
‘Hyperflux’, a solo exhibition by Nigerian artist Williams Chechet which opened on December 11th 2020, is currently showing at Retro Africa in Nigeria’s capital Abuja. Featuring twenty-eight works, the exhibition is a comprehensive display of his artistic practice spanning two decades. Chechet is known for his vibrant images, animated with portraits of Nigeria political, traditional leaders and cultural iconography that resonate with references in pop art by Andy Warhol and Jean-Michel Basquiat.
‘Hyperflux’ emulates beauty in distortion and shows the artist’s ability to meticulously execute artworks that merge figuration, abstraction, motif design, as well as selected images that encompass lifestyle, text, design, architecture, nature and heritage. The works featured in the exhibition are centred on the theme of self-identity and are oddly reminiscent of the work of artist Roy Lichtenstein. Chechet creates a visual distortion while simultaneously keeping the illusion of coherence in the observed image, which speaks to a sense of character and identity.
The market for modern and contemporary African art has steadily grown for the last few years. The success of the 1-54 Contemporary African Art Fair—whose latest, online-only edition opened earlier this month
Henri Abraham Univers “No pinto para decorar. Estoy tratando de transmitir un mensaje”, defiende Henri Abraham Univers en la web de la 1:54.
The leading international art fair dedicated to contemporary art from Africa and its diaspora, 1-54 Contemporary African Art Fair has held annual editions in London since 2013, New York since 2015 and Marrakech since 2018.
From a purely statistical standpoint, Lagos seems like a perfect destination for an art fair. It is the largest city in Nigeria, a country that is home to more black billionaires than any other
Talking about his work at the 1-54 Contemporary African Art Fair in New York, French-born artist Henri Abraham Univers said he uses a series of repeating elements that unify his paintings
Gallery list announced for sixth London edition of the fair. 43 galleries from across Europe, Africa, the Middle East and North America
Retro Africa has since inception in 2015, become a home for contemporary art from Africa and her related Diaspora, through its representation of emerging and established artists.
This is the Golden Age of contemporary African art. This is our renaissance...
Fledgling local client base and rising international interest fuel Cape Town and Marrakech shows
The role of the gallerist is one of the most important within the art world. A complex mix of unabashed adoration for the artworks and business savvy, as a career choice it’s a passion as much as a vocation
Going down this weekend, we spoke to founder and Director of ART X Lagos about her mission to make Nigeria an art hotspot
My experience of the 1-54 contemporary African art fair mostly consists of being awed by all the beauty contained within that (relatively) small building in Red Hook