Solomon Okpurukhre

buntesAT: What do you think of the categorization of "African art"? Do you find it problematic because of the ethnicization of the artists and their works, or useful because the term reflects historical, political, and social conditions?
Solomon Okpurukhre: Art is a global thing, number one, that we should understand. We are all gifted or talented as individual artists, and I, as an artist and a creative person, am also proud of my roots. African art has historic value. Many generations of artists have created their own works based on African influences, which have been an inspiration for generations to come
Right now, we are talking about the topic of restitution. If these works were not valuable, they would not have been stolen in the first place. They were indeed of high value and very inspiring. Artists like Picasso have recognized the value of African artifacts, such as masks and crafts, which were created by our ancestors long ago. Their creativity inspires the world. So, you can see the level of inspiration that comes out of it.
However, as an artist, I try to avoid categorizing artists and their work simply as "African" because it can lead to stereotypes and limitations. There are challenges in the modern world where some people stereotype and label artists as "African" and thereby reduce their opportunities. For example, in the art market, some African artists are not given the great platform or value that they truly deserve. There are many talented artists who are not given opportunities simply because they are African artists. This is what disturbs me. Stereotyping or reducing art to specific cultures or regions can prevent us from seeing the individual artist.

Have you yourself felt this ethnicization of your artworks? Have you experienced this personally as an artist?
As an artist, these experiences can be present. Thankfully, my diverse work with various materials and concepts has given me positive experiences. Sometimes, if I'm not present, people may not be able to tell that I'm an African artist. When my work speaks for itself, the situation changes, then it's a different ballgame.
I remember one occasion where I participated in the 19th African American Art Competition in Louisville, Kentucky, in 2013. I wasn't there in person, and I loved the fact that the judges only focused on the artwork itself, not the artist's CV or background. They don't want to see the artist; they don't want to see your CV; all they wanted to see was the artwork. And I won the first prize that year. When you allow the art to speak for itself, it becomes a different game compared to evaluating the artist's CV, education, cultural background, or geographical origin.



You have been very successful as an artist in Austria for over two decades (formerly in Lower Austria and now in Vienna), which makes you somewhat of an exception. For the past few years, there has been a significant interest in artists of African descent, after the death of George Floyd and triggered by the global Black Lives Matter movement. What changes in the perception of contemporary art from Africa have you observed in recent years?
Looking back, it has been challenging. Opportunities were limited, as I mentioned before. But currently, more doors are opening, and opportunities are emerging. There is a better understanding of and appreciation for the value of works from African artists. There is more recognition compared to what we experienced in the past. However, there is still much work to be done. Creative and talented individuals produce excellent works that deserve recognition and appreciation.

The exhibition “Magiciens de la Terre” at the Centre Pompidou in Paris in 1989 is considered the first significant group exhibition of contemporary art from Africa in Europe. Similarly, the appointment of Nigerian-born Okwui Enwezor as the curator of the eleventh documenta in Kassel in 2002 marked a turning point for the perception of African art production. However, there is much criticism from artists that the globally and urban-focused art market is extremely difficult for African artists to penetrate, and there is a lack of institutional support from their countries of origin. How do you generally assess the chances of non-European artists in the strongly Western-dominated art market?
That's a good question. Well, this is the research that we've been doing for long now, with the hope that, we will be successful at the end oft he day. That's the challenge.
The art market is influenced by various dynamics: artists, curators, critics, collectors, and buyers. All these factors shape the art market. It is indeed very Western-dominated because the concept of art and its values have largely been defined in Europe since the 19th century. This makes it challenging for non-European artists to break into the market when all the criteria are defined by Western standards.
It's a challenge to make a breakthrough when the art market has been structured in a certain way. What people define as art can really limit the scope of creativity. Art should not be confined to a specific definition. If you define something as art, you limit the world of creativity. True creativity involves inventing and experimenting with new ideas. Contemporary art should embrace new forms of creativity.

Are African artists supported in their endeavors by their home countries?
Unfortunately, the support from home countries is very limited. There isn't enough support from governmental institutions to encourage artists.
But having lived in the diaspora for 25 years now, I know that as an artist, you belong wherever you exist. Art has to be expressed; it's not about where you were born. You have to be part of the system. Before I came back to Europe, I used to live in Senegal. I'm not from Senegal, I'm from Nigeria. But I lived in Senegal. Wherever you are, the environment influences your inspiration. As an artist, you carry something to share, regardless of your origin.
Music is a global language; when you sing, everyone dances to it. Creativity should not be limited by certain groups of people who define what is considered art.
Sometimes I struggle to understand some of the art being called art, to be honest. But I respect everyone's creativity. Okay, I also do a lot of abstract work, but they still have to have a certain kind of depth, beautiful depth, and some of this art I see something is so simplified. Some people will say, nearly anybody can do it. However, I respect everyone's inspiration and creativity. Critics, curators, and auction houses play a significant role in defining the art market, but they should also recognize the unique inspiration and talents of individual artists. I still don't like the idea that we have some people who govern the art market, you understand, whether they are curators, auctioneers, or critics. Because at the end of the day, they should also learn to understand that the inspiration that lies within the person needs to come out, needs to be respected, and needs to be given an opportunity. So, I don't want to see a world whereby art is defined, the market is defined, and then that's it. We must give more room. Having lived in Austria, Vienna, for many years now, I notice also in the art market that every time, every now and then, I'm not the only one saying this. Many artists are saying the same thing. It's like a very hard nut to crack because certain artists have been recognized, and they are presented and represented, but many other artists, including many Austrian artists, struggle to break into the market because there is little opportunity given for other artists to also showcase themselves. It's like what has been defined—the known artists—are kept around for too long, and that can be really disappointing.

Not everyone has the chance to be represented in auction houses like Sotheby's. How important are exhibitions like the "RESTITUTION: Connecting Generations and Stories" exhibition by RG10 Gallery in collaboration with LichTraum by Sonia Siblik for the visibility of African artists?
It's a beautiful initiative. As an artist, I appreciate the work of galleries like RG10 and LichTraum by Sonia Siblik. They create opportunities and platforms for artists to showcase their work. I myself have been running an art agency for years in Austria. And the reason I'm saying this is because it has also been my passion to create platforms for creative people, because that's necessary. At the end of the day, if you wait too long to be recognized by certain established galleries or institutions, or auction houses, you might wait all your life. Thank God that the global world has given us the opportunity to showcase online, and artists can present themselves. These smaller galleries play a crucial role in providing visibility to emerging artists. It's essential to have these platforms, as they offer artists the chance to be seen and recognized, not only artists from Africa but also artists in general.

So, you believe that working with smaller galleries that may not have a long-established reputation is not a waste of time?
Absolutely not. These smaller galleries provide vital opportunities for artists. Without a platform to show your work, nobody will see it.
Art will speak for itself, and it's a matter of who sees it. The work done by RG10 Gallery and LichTraum Gallery is excellent. They provide opportunities for artists to present their works and share their talents with the world. They are making a significant impact by helping artists achieve their dreams by doing what they love and showcasing their talents to the world. 

Socialmedia: @solomonokpurukhre

Interview: Madge Gill Bukasa