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The Ecobank Pan-African Centre (EPAC) in Lagos recently transformed into a vibrant cathedral of colours, textures, and narratives as the third edition of the +234 Art Fair kicked off. At the heart of this creative explosion is Tola Akerele, a woman whose name has become synonymous with the institutionalisation of Nigerian creativity. As the founder of the fair, the creative force behind Soto Gallery, and the current General Manager of the National Theatre, Akerele is on a mission to ensure that no Nigerian artist—regardless of their geography or age—remains invisible. In this exclusive sitdown with TOMI FALADE, she speaks on the 33-day road trip to discover underserved talent, the rise of digital expressions, and why the Nigerian code (+234) remains the ultimate selling point for global excellence.
Can you tell us about the vision behind the +234 Art Fair?
This is the third edition of the +234 Art Fair. It is a platform dedicated to emerging artists. While most of them are young, age isn’t the only factor; “emerging” refers to their exposure. For instance, one of our featured artists is actually a professor from the University of Nigeria, Nsukka (UNN). Despite his years of experience, his work had never been seen publicly.
I stumbled upon him while visiting a friend in Nsukka. I was rushing to the airport, but my friend insisted I see his work. I was blown away. We subsequently held an exhibition for him at Soto Gallery. Nigeria has so many talented artists who lack a platform to engage with the public. This fair is designed to bridge that gap.
The theme for this year is “Inclusivity.” What does that mean in the context of the Nigerian art market?
For us, inclusivity is about geography and access. We realised that not everyone sees our digital “Call for Entries”—some might not even have phones with that capacity. To address this, we embarked on a 33-day road trip across 17 states, spanning the North, East, and Southwest, looking for artists in underserved communities.
We documented this journey in a film supported by the Osahon Okunbo Foundation. This year, we also expanded our categories to include Digital Art, 2D Art, Sculpture, and Photography. The photography section is particularly strong this year because our road trip brought in more diverse entries. We received over 1,500 submissions and curated them down to 300 artists—a significant jump from the 200 we hosted last year.
I noticed that some works appear to be hung at random, with pieces by the same artist appearing in different sections. Was that a deliberate curatorial choice?
Actually, we try to keep an artist’s body of work together. However, we faced some space constraints. An artist might submit three pieces, but we can only fit two in their primary section. If we have an opening elsewhere that suits the third piece, we place it there to ensure the artist gets maximum exposure. It’s a matter of optimising the volume of work we want to show.
Does the “Inclusivity” theme tie into Women’s History Month?
The fair happens to fall in March, so we are certainly focusing on women. In the Nigerian art market, we notice many female artists drop off after a few years—often due to marriage or a lack of support systems. We are looking at how to provide more mentorship to ensure they stay in the practice. While we still have more men than women, we were very deliberate this year in increasing female representation.
Beyond the exhibition, what other engagements are available for the artists?
It is not just about the art on the walls. We have panel discussions, a children’s gallery, and various talks. We just concluded a keynote discussion with Kunbi Oni from the Museum of Modern Art (MoMA) in New York. She is also facilitating two workshops for the artists on global best practices—focusing on research, storytelling, and how to deepen one’s practice once the fair is over.
You have four different artistic expressions represented here. What do you say to traditionalists who believe art should only consist of painting and sculpture, and exclude things like digital art?
The world is digitising; people have to accept it. Digital artists are bound to have a place in the future. In the spirit of inclusivity, we gave them a much larger viewing room this year to allow visitors to truly experience the medium. We are also exploring art therapy. Our children’s gallery works with kids with special needs, using art as a powerful tool for communication and healing. Art is about connection. When you see a piece that speaks to you, it brings a joy that changes the atmosphere of your home.
The layout feels familiar to last year’s edition. Are there plans to switch things up in the future?
It is actually quite different this year! We’ve integrated the sculpture and 2D sections, which were previously separate. We also have new partners and collaborations. Ecobank has been a wonderful partner; there aren’t many spaces in Lagos that can accommodate this volume of art. They truly understand the importance of supporting the creative economy.
Why the name “+234”?
Because that is the Nigerian code. This fair is strictly about promoting and believing in Nigerian artists— finding them in Maiduguri, Owerri, and everywhere in between. We took a car and traveled the country to bring these underserved voices into the light. This is about the abundance of beauty in Nigeria.
Is “Nigeria” a good selling point for you?
Nigeria is an amazing selling point. We are amazing people with incredible talent. It is always a good selling point for me. What is the criteria for selection, and can an artist return every year? We look for originality and the interesting use of materials. Artists must fill out a form detailing their practice and history. However, we have a “three-year rule.” After participating for three years, you are no longer considered “new” to the fair. You’ve been exposed and hopefully discovered by a gallery. It is then time to move on and make room for the next set of emerging voices. Our goal is to keep the pipeline of new talent flowing.
