Systematisation of Art in Nigeria

Abstract

Value in art is socially constructed in international spaces and the insertion of art into these spaces depends on domestic support systems. Drawing on the artistic field theory (Bourdieu, The Market of Symbolic Goods. In The Field of Cultural Production: Essays on Art and Literature (pp. 112–141). Columbia University Press, 1993), this chapter explores the circumstances regarding the international obscurity and under-representation of contemporary art from Nigeria. Integrating the approaches of historical research and in-depth interviews, it addresses the question: what are the patterns of arts governance in Nigeria as it relates to international (in)visibility of contemporary art? Much more than the systemic marginalisation in the global art markets, the study found that the weak internationalisation of contemporary art from Nigeria is mainly a consequence of inefficient local art governance. Therefore, it argues that for Nigeria to become a centre of art, supporting a robust domestic market and meaningful international engagements, it must develop an adequate local art infrastructure. While the government may not undertake these independently, considering pressing fundamental demands, it should establish a supportive legislative framework to drive sustainable private interventions. Additionally, the Nigerian government must select cultural managers based on their habitus and cultural capital rather than mere political considerations.