In consistence with the tradition of Artmiabo International Art Festival (AMIAF), the 2025 edition will come with another set of awardees. For the yearly event’s fourth edition, the vital role of economy in sustaning art appreciation will be celebrated, identifying specific art professionals who have contributed to Nigeria’s art economy, over the years.
Ahead of the event, Miabo Enyadike, founder, AMIAF, disclosed that the fourth edition will be holding at multiple venues in Lagos and Abuja, simultaneously, from April 29-May 1, 2025, with zonal preparations that will generate more participants across Nigeria. In all the past three editions, Lagos had been the only host city, which showcased artists from within and outside Africa.
While announcing “Artconomy 2025: Redefining the Global Art Marketplace” as theme of the fourth edition of AMIAF, Enyadike listed: Nike Okundaye, textile artist; Bolanle Austen-Peters, filmmaker; and Yusuf Durodola, curator, as awardees for the AMIAF Artconomy 2025 awards.
Last year, AMIAF’s theme celebrated non-painter artists and their works in the third edition themed, “Sculptors Odyssey”, which also gave awards to some individuals.
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The AMIAF tradition of yearly award continues with the 2025 edition as Enyadike explained that the decision on the three professionals was made purely on merit. “Chief Okundaye owns the biggest private art gallery in Africa, with well over 10,000 works of art in her possession. She helps artists to sell their works in her gallery, and also supporting them in other ways,” Enyadike said.
He eulogized Nike as “an international ‘Artpreneur’ whose career of of over six decades has inspired “young artists, art collectors, culture observers and the creative community.”
On Austen-Peters, who is currently known for her blossoming career as a filmmaker, her contribution in visual arts not known to many of her admirers comes into focus with the AMIAF award. Enyadike glorified Austen-Peters for applying “the seven marketing Ps” in creating culture entrepreneurship in Nigeria. “She has produced, packaged, priced, positioned, placed, physical evidence and processed the Nigerian art and culture into an authentic and attractive product that looks good anywhere.”
Enyadike recalled that as the CEO and founder of Terra Kulture, Austen-Peters established what has been known as a thriving privately-owned art and culture centre. She highlighted Austen-Peters’ journey from law practice to full-time art stewardship, noting that such achievement has been widely acknowledged by professionals in the creative industry. “Her impact in Nigeria’s creative industry is extensive—establishing an organization that supports artists, preserves Nigerian literature, and curates art exhibitions and auctions, as well as championing Nigerian culture through film, performance art, and culinary experiences. Bolanle’s visionary approach has consistently positioned Nigeria as a significant creative presence on the global stage. Her unwavering commitment to excellence is evident in all she undertakes, making her an indisputable choice for this recognition.”
With Nigeria’s growing curatorial environment, particularly for young professionals, the AMIAF Artconomy award comes as a boost for emerging curators. Enyadike stated that Durodola merited the list as “arteconomist.” Durodola has been the curator of two editions of AMIAF, and going ahead to add the third, next year. The curator who holds Guinness World Record (Largest Painting by Numbers), according to Enyadike, has built inspirational career worth celebrating.
Apart from being in the academia, Durodola is also into mentorship, and art advisory, among other areas of his works. For the AMIAF award, Enyadike disclosed that Durodola has been selected as one of the awardees for his “ability to apply his craft in a seamless way, understanding the importance of artist to be on top of his game, as a genius.” She cited example of Durodola’s handling of the curatorial contents of every AMIAF exhibition, particularly “the entire creative processes and pricing were always determined by Yusuf, with his accurate placement and positioning of the artworks to reflect the theme of each of the festivals.”
As an artist who had also owned a gallery, in Lagos, Enyadike set up AMIAF to fill a vacuum in supporting artists. So, for the last three editions, she seemed satisfied that the goal of the yearly event has been met as a young, growing gathering of artists. “AMIAF basically represents the unrepresented artists and creates an avenue that presents them to the world in a unique fashion, through intense advertising and media exposure,” she assessed the event’s past editions. “We set the tone for the art topic or subject that exhibitions tend to use or follow after the festival, that’s how I have rate our success.”
The AMIAF 2025 edition comes with some set goals such as redefining the global art market with innovative digital art, interactive AI-driven installations, and workshops on NFTs and blockchain; showcasing African artists and tech creators at an international level; Connect commerce and creativity to foster sustainable growth; Drive investment opportunities in the Nigerian and African art sectors; and Celebrate Nigeria’s role as a rising global art hub, aligned with Lagos’s reputation as Africa’s leading economic and cultural capital. He added that the 2025 edition will create an art, tech, commerce and investment summit within the ethos of the festival.
Being a large scale exhibition, the traditional letting out of booths to artists or their gallery representatives has a different format with AMIAF. Enyadike boasted that AMIAF has been sustained for the past three editions without relying on artists and galleries to pay for booths. “We do ask artists to pay for booths, but they always come short,” Enyadike disclosed AMIAF’s liberal approach in supporting artists. “I am a fine artist who has owned several art galleries in the past. I understand the business is not a fun project.” However, AMIAF, she enthused, is progressing with the pace of the artists. “They will pay for an exhibition or festival they perceive has a big name player in it. We are new to the scene, and most artists or galleries are observing for now.”
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