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In A King’s Passion… Obi of Onitsha interrogates African art, culture

By Florence Utor

08 November 2023   |   3:04 am

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Last week, the Obi of Onitsha, Igwe Nnaemeka Achebe, unveiled a book, A King’s Passion: A 21st Century Patron of African Art, which is dedicated to his love for art and culture. The publication is a comprehensive exploration of the exceptional masterpieces of modern and contemporary African art in his collection. According to the monarch,…

Last week, the Obi of Onitsha, Igwe Nnaemeka Achebe, unveiled a book, A King’s Passion: A 21st Century Patron of African Art, which is dedicated to his love for art and culture.

The publication is a comprehensive exploration of the exceptional masterpieces of modern and contemporary African art in his collection.

According to the monarch, passion, intellectual curiosity and intuition of over 40 years inspired the collection of more than 4000 artworks, of which over 300 are featured in the book.

The publication addresses the emerging role of art patronship in Africa and how indigenous collectors are expanding narratives on the art of the African continent.

Lavishly illustrated in full colour, A King’s Passion was edited by Sandra Mbanefo Obiago (SMO) Contemporary Art and features 120 artists and carefully selected modern and contemporary masterpieces, including works by Ben Enwonwu, Uche Okeke, Amon Kotei, El Anatsui, Ablade Glover, Twins Seven Seven, Ndidi Dike, Godfried Donkor, Midy, Mxolisi Dolla Sapeta, Kofi Agorsor, Frew Kebede Gemech, Tizta Berhanu and many more.

It also includes, critical essays by some of the finest scholars and experts on African art such as, Sylvester Ogbechie, Frank Ugiomoh, Edwin Bodjawah, Babacar Mbow, KrdyzIkwuemesi, Jerry Buhari, Bernard Akoi-Jackson, Chike Nwagbogu and Oliver Enwonwu, and others.

He said, “the book fulfils its primary objective to foster research into modern and contemporary art in Africa by challenging the existing canon and helping to raise funds for the Chimedie Museum.”

CEO of Access Holdings, one of the sponsors and host of the event, Herbert Wigwe, said, “the impact of Igwe Achebe’s exquisite art collection and his strategic art patronage for over 40 years nurturing African talent, is a beautiful example of how creativity can create wealth from the grassroots all the way up through society, and create important paradigm shifts about our identity, our culture, and our history.”

He added, “the book strategically shows how art can contribute to developing our continent and telling a fresh story with ancient roots.”

Co-sponsor of the event, Ford Foundation, represented by its current Director for West Africa, Dr. Chichi Anyiagolu-Okoye, said, “the Obi of Onitsha did not establish the museum for the love of art only, but also because of his understanding of the importance of owning one’s own story, narrative and passing it down in a cultural context that is true to its original meaning.”

According to Anyiagolu-Okoye, “the Chimedie Museum will help teach, inspire and connect communities, especially at this time, when discourse on the return of African artefacts from Europe to its rightful owners is taking centre stage.”

The launch included a critical book review by art curator and architect, Jess Castelotte, and a vibrant panel discussion by leading experts in the African art market including, Senior Director of Sotheby’s auction house; Hannah O’Leary, award winning photographer, Kelechi Amadi-Obi, leading African art collector and philanthropist, Femi Akinsanya and Founder of the ART X Lagos art fair Tokini Peterside-Schwebig, who all related how their love for art preservation began. The discussion was moderated by Convener of Design Week Lagos, Titi Ogufere.

The book editor, Founder and Artistic Director of SMO Contemporary Art, Sandra Mbanefo Obiago, said, “the Chimedie Museum will be an important repository of art collection as well as photographs, music and video recordings, royal regalia including costumes, jewelry, hats, ornaments, and historic documents and research materials, including the digital copies of the entire academic socio-anthropological study of Onitsha.”