Barely a year after its participation in Art Basel Hong Kong, Retro Africa Art Gallery resumed its Afro-Asian cultural exchange narrative in Singapore with an exhibition of the works of Ken Nwadiogbu. Okechukwu Uwaezuoke reports
No doubt, for Retro Africa, its first-ever outing at the prestigious ART SG in Singapore, which ended on Sunday, January 21, must have made quite an impression on the event’s estimated 45,000 attendees. Picture this: a bustling art fair—indeed, one that is reputed to be Southeast Asia’s most significant—with a dazzling array of galleries overwhelmed many an aficionado. And amidst this vibrant sea of creativity, Retro Africa stood out, basking in the glory of its solo exhibition titled Journey Mercies: A Migration Symphony at its booth, which was listed among the best by the respected American art magazine, ARTNews, a publication that boasts a readership of 180,000 in 124 countries.
And talking about the exhibition, it featured Ken Nwadiogbu’s creative genius, which, curated with remarkable finesse, resonated with a profound impact, leaving an indelible impression on the minds of the viewers. For instance, the artist’s patented fusion of hyperrealism and contemporary elements—which he dubs “contemporealism”—transported viewers to a realm where black representation, identity, displacement, and socio-political dynamics intertwine with a magnetic force.
The very notion that the exhibition managed to capture the spotlight at this bustling four-day visual arts fiesta, where 114 galleries showcased their masterpieces from 33 different countries and territories, is an extraordinary achievement that demands recognition and applause.
Retro Africa’s presence alone is a testament to its years of dedicated passion. Founded in 2015, it has been a beacon of contemporary art and culture, not only for Nigeria’s capital city, Abuja, but for the entire African art community. And the fact that its booth, FC28, in the Focus Sector, was hailed as the number one must-see by the prestigious ARTNews a year after it participated at Art Basel Hong Kong as one of only two African galleries was a thrilling validation of its unwavering commitment to sharing stories from the farthest reaches of the world. “To see [my booth] ranked as the number one booth by ARTNews felt like a nod to the power of telling stories from different corners of the world,” says its founder, Omodolapo Kola-Balogun. “I can’t help but appreciate the evolution of Retro Africa, now in its ninth year.”
Founded in 2015 with a co-founder she simply identified as Abdul (with whom she had since parted ways), Retro Africa has experienced consistent progress. The gallery holds profound significance to Kola-Balogun as a medium that, being fluent in French, enables her to bridge the gap between the English-speaking and French-speaking communities.
Besides the fact that the gallery’s collaboration with Nwadiogbu spans nearly seven years, it also helps that the artist’s profound exploration of universal themes, especially the poignant subject of migration, resonates across cultures. Apparently, his work seems to be embraced in Asia, where the narratives of displacement become a shared experience, which is genuinely heart-warming. Recently having graduated with a Master’s degree in painting from the Royal College of Art in London, where he has relocated after spending most of his life in Lagos, his artistic journey is a testament to his mastery of colour and storytelling. Talking about colours, the vibrant orange and yellow hues in his work symbolise energy, while the greens and blues abstractly convey themes of migration and rediscovery. “As we move forward, we look to the future with anticipation,” Kola-Balogun adds. “The journey continues, and there’s much more we aim to accomplish this year and beyond—more stories to tell, more bridges to build, and more artistic horizons to explore.”
Last year, the gallery’s solo exhibition in Hong Kong created quite a stir with its display of the remarkable artistry of Victor Ehikhamenor. This year, Nwadiogbu’s remarkable pieces continued the Afro-Asian cultural exchange narrative in Singapore. The fact of being the sole black African gallery present in both locations transcends mere clout-chasing but rather attests to its trailblazing efforts. “In this evolving art landscape, where the spheres of influence are expanding, I see my role as a storyteller, weaving a narrative that goes beyond the confines of Western validation,” she explains. “It’s about forging new paths while cherishing the ties we build along the way. As African art takes its place on the global stage, ART SG becomes not just a fair but a platform for diverse voices and perspectives. It’s a journey of art, culture, and shared experiences that transcend boundaries.”
Back to the artist, who first graduated from the University of Lagos in civil and environmental engineering, his artistic expression stems from a profound exploration of his personal journey, which he intertwines with a thought-provoking social critique. Each facet of his experiences holds significant importance in moulding his creative path, forging a unique artistic process that resonates with authenticity and originality. “His process is more than just a creation—it’s a performance, a catharsis, a healing,” corroborates Kola-Balogun. “It interrogates socio-political issues and challenges recurring themes that we grapple with regarding belonging and the minority experience, which forces us to think through not only the outcome of governmental failure but also its root cause.”
Nwadiogbu emerged as the esteemed recipient of the prestigious Future Awards Africa. This was in recognition of his remarkable contributions to Nigeria’s vibrant artistic scene. Among the significant milestones of his career was the exhibition of his extraordinary masterpieces at acclaimed art meets like the renowned Royal Academy of Art Summer Exhibition held in London in 2023. Moreover, he ventured into compelling collaborations, such as Retro Africa’s captivating solo exhibition titled Fragments of Reality, hosted at the esteemed Kristin Hjellegjerde gallery in 2023. Engaging in thought-provoking discourse, Nwadiogbu also actively participated in prominent events in 2021, like Thinkspace’s Ubuntu exhibition in Los Angeles and the Journey Mercies exhibition at London’s Bomb Factory Art Foundation. Additionally, he participated in reputed art events like Scope Miami, 1-54 London, Prizm Art Fair, and ART X Lagos.
Then, there are also his partnerships with such renowned names as Macmillan Publishers, Martell, Gant, and OPPO, as well as noteworthy ongoing collaborations, which include a special initiative with Hospital Rooms and an exciting venture with Netflix for the release of Top Boy’s third season. At the core of his purpose is the empowerment of young artists, which he accomplishes through creative partnerships, mentoring, and inspirational talks.
