German President Frank-Walter Steinmeier’s high-profile visit to Nigeria culminated in a prestigious cultural evening exhibition at the Nike Art Centre in Lagos, marking a significant moment in the country’s vibrant art scene and strengthening cultural ties between Germany and Nigeria. Okechukwu Uwaezuoke reports
Given German President Frank-Walter Steinmeier’s high-profile standing, it was only fitting that the Nike Art Centre in Lekki, Lagos, rolled out the red carpet for him ahead of the prestigious cultural evening exhibition on December 11. The event, attended by a coterie of local arts community members, was a highlight of President Steinmeier’s two-day state visit, which commenced with a grand arrival in Abuja on December 10 and concluded with a departure to Johannesburg, South Africa, on December 12.
And what made this visit to the gallery truly special was President Steinmeier’s opportunity to experience Nigeria’s vibrant art scene firsthand. He had the “privilege”—as his brief remarks at the event implied—of meeting with renowned artist Chief Nike Okundaye at her space, a cultural hub showcasing an impressive collection of over 8,000 African art pieces.
In his outpouring of compliments for Chief Nike Okundaye, the German president, who was on his third visit to Nigeria, couldn’t help but allude to the fact that her first-ever exhibition was at the Goethe-Institut in Lagos back in the 1960s—an event that seems to have been quietly tucked away in history.
Now that her creativity and industry are always guaranteed to steal the show, the German president was, no doubt, impressed by her trailblazing work, especially considering her mentorship of younger artists and commitment to empowering the underprivileged, particularly women. Her art centres in Lagos, Abuja, Osogbo, and her hometown Ogidi have, for instance, trained over 3,000 young Nigerians for free, and she has funded numerous small businesses and workshops across the country. “There is a reason why everybody in Lagos, and in fact in the whole cultural world, in Nigeria and beyond, calls you Mama Nike,” President Steinmeier said. “[It is] because you have indeed been like a mother to many young artists, especially female artists, and especially to those with underprivileged backgrounds. You gave them space, skills, and advice. By your tireless commitment, you have inspired them, and that is what young artists need most— inspiration and encouragement.”
Steinmeier’s praise for Davies-Okundaye’s work was, therefore, more than just a diplomatic gesture; it was a heartfelt acknowledgement of her profound impact on the art world. Hence his earlier statement: “Culture in all its forms is a bridge that connects us across languages, borders, and histories.Tonight, we have come together to honour the stories, values, and perspectives that Nigerian and West African art brings to our lives. This evening will not be possible without you, Chief Adenike Okundaye.”
On the other hand, who wouldn’t be thrilled to be so effusively celebrated by a German president? Surely, such a high-profile endorsement should feel like the equivalent of receiving the Nobel Prize in the visual arts!
As he toured the gallery’s ground floor with Weert Börner, the German consul-general, and his wife, Dr. Imke Börner, President Steinmeier was treated to a kaleidoscope of Nigeria’s diverse rhythms, a showcase of the country’s resilience and creativity. This cultural interlude not only chimed with his assertion to the effect that the Nigeria-German relationship extends far beyond the realms of politics and economy but “also builds on a vibrant cultural exchange and the vivid cooperation between Nigerian and German artists, academics, and scientists,” adding that “no other African country sends more students to study in Germany than Nigeria.”
The exchange of artists between Germany and Nigeria is a shining example of their shared passion for art and culture. Germany’s long history of cultural engagement with Nigeria, dating back to the 1960s when the Goethe-Institut was founded in Lagos, has laid the groundwork for a fruitful collaboration. And, in a significant move that solidified their bond, Germany recently returned hundreds of Benin bronzes to Nigeria, a gesture hailed as a major display of cultural goodwill.
Steinmeier’s comments while he explored the exhibition—“What we are seeing here is a document of the variety of Nigerian art”—captured the essence of this cultural exchange. Indeed, his Nigerian hosts, through their vibrant display of traditional and modern art forms, not only reflected the country’s diverse cultural landscape but also connected both countries—like textile artists. It was just like he said in his opening remarks (with all puns intended): “You are busy knitting the ties and weaving the nets that bind our two countries and societies together.”
Space constraints, meanwhile, seemed to be a big issue at the Wednesday reception. Perhaps, had it not been for the strictly by-invitation nature of the event, the venue would have been swamped with members of the Lagos art community. Instead, the guest list was carefully curated to include a diverse mix of business leaders, media moguls, Nollywood celebrities, and culture enthusiasts.
This curated group included notable figures like Afrobeat musician Femi Kuti, his sister Yeni Kuti, the dancer Segun Adefila, the renowned filmmaker Kunle Afolayan, the Germany-based Nigerian sound artist Emeka Ogboh, and German-Nigerian musician Ade Bantu. They mingled with guests from the German and Nigerian business communities, creating a unique and lively atmosphere.
Among the visual artists in attendance were Ayoola Omovo, Timi Kakandar, and Dr. Bolaji Ogunwo, who were on hand to share insights into their works with the distinguished guest.
Steinmeier’s plans for the next day before flying to Johannesburg, South Africa, factored in a meeting with Nobel Prize-winning novelist Professor Wole Soyinka following a relatively hectic agenda that included a boat tour of the Lagos lagoon
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