Ghana, increasingly recognized as a must-visit destination for art enthusiasts globally, is experiencing a remarkable surge in its contemporary art scene. This isn’t just a fleeting trend; it’s a burgeoning movement, fueled by a confluence of factors including a growing number of artist residencies, innovative art spaces, and a renewed global interest in African art. The momentum is palpable, especially as Detty December, the annual celebration of African culture, approaches.
Long before the traditional Detty December festivities begin, Accra’s Gallery 1957, a leading force in the Ghanaian art world, ignites the cultural countdown with its annual Culture Week. This week-long event is a whirlwind of exhibitions, talks, performances, studio visits, and workshops, spreading across various cultural hubs. These include the community-focused dot.ateliers residency, the non-profit La Foundation for the Arts, the repurposed Nkrumah Volini open art space, the Savannah Centre for Contemporary Art, Dikan Center, and the Red Clay studio in Tamale, founded by the internationally acclaimed artist Ibrahim Mahama. This decentralized approach ensures the artistic energy permeates Accra and beyond.
Veteran Ghanaian-born artist Godfried Donkor, who now divides his time between London and Accra, provides invaluable insight into this transformation. He highlights the significant growth in artist studios and residencies, acknowledging that while sustainability remains a challenge, the long-term impact on young artists is undeniable. The continued engagement with art and the opportunity for exploration are crucial for the future of the Ghanaian art scene.
Hannah O’Leary, Sotheby’s senior director and head of modern and contemporary African art, emphasizes the historical context and ongoing challenges. While the contemporary art market often focuses on fleeting trends and “the next big thing,” O’Leary stresses the importance of fostering a sustainable ecosystem. Her advice to artists is simple yet powerful: stay true to your practice. Building a long-term career requires dedication and authenticity, not chasing market trends.
This message resonates deeply, as evidenced by the recent influx of prominent figures from the British art world. Industry leaders including O’Leary, Madeleine Haddon from V&A East, and Osei Bonsu from Tate Modern, alongside a cohort of Black British artists like Donkor, Julian Knox, Michaela Yearwood-Dan, Arthur Timothy, and Alberta Whittle (Scotland’s representative at the 59th Venice Biennale), recently converged in Accra. Their presence underscores the growing global recognition of Ghana’s artistic potential.
Their work is showcased alongside that of Ghanaian artists like Rita Mawuena Benissan, Amoako Boafo, and Gideon Appah in the groundbreaking exhibition, *Keeping Time*, curated by Ekow Eshun and Karon Hepburn. This exhibition delves into the multifaceted experience of being Black in a world shaped by whiteness. Eshun explains that the artists challenge the singular narrative of time, drawing on African diasporic histories and knowledge systems to critique historical interpretations that have marginalized people of color.
*Keeping Time*, a continuation of Eshun’s 2023 show *In and Out of Time*, is conceived as a visual symphony, with diverse artistic expressions creating a harmonious dialogue. The exhibition features a diverse range of styles, from abstract paintings to lyrical films, united by a shared dreamlike quality and a refusal to be confined by singular narratives. Michaela Yearwood-Dan’s “Final Track (We Can Do it Real Big)” serves as a powerful example, a large-scale painting blending personal narratives with broader social and political commentary.
Andrew Pierre Hart, a London-born Barbadian DJ-turned-multidisciplinary artist, shares his experience of a recent residency at Gallery 1957. He immersed himself in Ghana’s vibrant culture, experiencing everything from music nights to protests, drawing inspiration for his work, “The Listening Sweet II Ghana,” from the colors and architecture of the country. Meanwhile, Julian Knox’s poignant film, *Temple Run*, tackles the complexities of migration from Sierra Leone, highlighting the challenges migrants face while also emphasizing the importance of local narratives and opportunities for growth within their home countries.
*Keeping Time*, currently on display at Gallery 1957 until January 11, 2025, is more than just an exhibition; it’s a testament to Ghana’s burgeoning art scene, a celebration of artistic collaboration across continents, and a powerful statement about identity, history, and the future of African art on the global stage. It’s a must-see for anyone interested in contemporary art, African culture, and the stories of the diaspora.
