In the heart of Kampala, Uganda’s capital, a quiet revolution is unfolding in the arts scene. A world once confined to a single commercial gallery has now blossomed into a thriving cultural landscape with at least six galleries, paving the way for local artists like Lilian Nabulime. Nabulime, known for her unique terracotta sculptures that depict the peculiarities of urban gossip, recently showcased her work at Xenson Art Space. Her initiative to seek exhibition space echoes the changing dynamics in Uganda’s art scene, where artists are increasingly finding platforms to exhibit their work.
This artistic renaissance is not just a local phenomenon but is part of a broader African narrative. African artists are gaining unprecedented international acclaim, as evidenced by Ivorian painter Aboudia becoming the world’s bestselling artist in 2022 and Ethiopian-born Julie Mehretu’s artwork fetching a record-breaking US$10.7 million at auction. These milestones reflect a global surge in interest in modern African art.
The annual Art Auction East Africa in Kenya and participation in international events like Art Basel have further bolstered this trend. In a significant development for the Asian market, the 1-54 African art fair is set to debut in Hong Kong in 2024, showcasing the rich tapestry of African art.
Back in Uganda, spaces like Afriart Gallery are not only showcasing art but also nurturing talent through training programs. This approach has enabled Ugandan artists to gain visibility on the global stage. Other alternative spaces, like the vibrant artistic community in a former banking hall in central Kampala, are testament to the country’s growing creative energy.
Despite the burgeoning scene, the challenges of a limited collecting class and struggling sales persist. To address this, the Contemporary Art Society of Uganda was formed, encouraging locals to collect at least one artwork by a Ugandan artist each year. This initiative is not just about collecting art; it’s a movement to safeguard Africa’s cultural resources from leaving the continent.
Linda Mutesi, a Ugandan lawyer and art collector, highlights this sentiment, emphasizing the importance of retaining Africa’s intellectual property. This perspective reflects a growing awareness among the African middle class about the value and significance of their cultural heritage.
As Uganda’s art scene continues to flourish, it offers a window into the diverse and dynamic world of African art. It’s a world where local talent is not only recognized but celebrated, and where artists like Nabulime can find their voice and an audience, both at home and abroad.
READ MORE: