Onome Amuge
A powerful statement on Africa’s soft power and cultural capital unfolded in London this week as Tate Modern opened Nigerian Modernism, a landmark exhibition that places Nigeria’s modern art movement firmly within the global modernist canon. The showcase, made possible through a strategic partnership with Access Holdings Plc and Coronation Group, highlights the growing role of corporate Africa in shaping its cultural and economic future.
Running from October 2025 to May 2026, the exhibition features 50 artists and over 250 works, spanning the transformative decades between the 1940s and the 1980s. From the twilight of colonial rule to the early years of independence, Nigerian Modernism charts how artists like Ben Enwonwu, Uzo Egonu, and Ladi Kwali helped redefine modern art through an African lens, blending tradition, innovation, and identity in ways that challenged global narratives.
But beyond art, the partnership represents a significant exercise in cultural diplomacy and corporate vision. Access Holdings and Coronation Group, two of Nigeria’s most influential financial institutions, have effectively positioned themselves as custodians and promoters of Africa’s creative legacy, leveraging corporate resources to champion cultural storytelling and global recognition.
“This collaboration is a statement of confidence in Africa’s creative excellence. We see culture as both legacy and opportunity;a way to strengthen our identity, empower future generations, and place African narratives at the heart of global conversations,” said Aigboje Aig-Imoukhuede, chairman of both Access Holdings and Coronation Group. “
Among the prominent features of the exhibition are seven wooden sculptures by Ben Enwonwu, originally commissioned in 1960 by The Daily Mirror in London. Now part of the Access Holdings Art Collection, these works return to the UK not as colonial curiosities but as reclaimed icons of national identity, curated and owned by Nigerians. Their re-emergence in one of the world’s most prestigious art spaces underscores how far Nigeria’s cultural narrative has travelled from post-independence assertion to global validation.
Amaechi Okobi, chief communications officer of Access Holdings, described the moment as “a homecoming of identity.”
“Seeing our Nigerian art on the walls of Tate Modern filled me with indescribable pride. It felt like home had travelled — like Nigeria itself was being celebrated in the heart of London, and the world bore witness,” he added.
The opening reception, which Tate officials said drew the largest audience in the museum’s 25-year history,also reflected the scale and seriousness of the partnership. Beyond the glitz, Access Holdings and Coronation Group are backing the exhibition with education, youth engagement, and cultural literacy programmes aimed at enhancing a deeper appreciation for African creativity among young people.
As part of these initiatives, the institutions sponsored a student tour at Tate Modern, bringing together young Africans in the UK to engage with their country’s artistic heritage. The project not only bridges generational and geographic gaps but also encourages creative exchange, linking the past’s artistic brilliance to the future’s possibilities.
“We are stewarding a renaissance in African art. Just as we’ve seen with music, film, and fashion, this renaissance restores dignity and belonging for a generation that must carry our story forward,” said Ngozi Akinyele, chief marketing and communications officer at Coronation Group.
