Africa’s NFT Scene Is Booming – International Attention Could Take it to the Next Level - ARTnews | Canada News Media
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Africa’s NFT Scene Is Booming – International Attention Could Take it to the Next Level – ARTnews

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Last November, Art X Lagos, West Africa’s biggest art fair, partnered with leading NFT platform SuperRare to host Reloading…, one of the first NFT exhibitions for African artists. Featuring artists from Nigeria, Morocco, South Africa, Senegal, and elsewhere, the show has been described by those in West Africa’s scene as a major milestone drawing international attention to what African digital artists are doing.

The show “brings so much liberty and independence to the artists, and really just opens up their options,” Tokini Peterside, founder of Art X Lagos, told Reuters at the time.

Meanwhile, in March, the Centre for Contemporary Art Lagos held an introductory digital workshop on NFTs, moderated by Tomiwa Lasebikan, co-founder of Buycoins Africa. A month later, the African Digital Art Network launched the NFT marketplace Nandi to, as co-founder Chinedu Enekwe told Decrypt, “build an ecosystem” that can “help brands and creators to get paid.”

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The buzz around Reloading …  and these other initiatives is reflective of the fact that cryptocurrencies and digital art already have a major presence in Nigeria and across Africa. And it is only getting bigger.

Between July 2020 and June 2021, Africa saw $105.6 billion in cryptocurrency payments, a roughly 1200 percent increase over the previous year, according to a March report by blockchain data platform Chainalysis. Meanwhile, Nigeria, Kenya, and South Africa were all ranked in the top ten countries for crypto use.

But despite this seemingly wide crypto adoption, African digital art still has challenges to overcome.

Early last year, the Nigerian government banned banks and financial institutions from using cryptocurrencies, causing many Nigerians to empty their crypto wallets in a wave of panic. While Nigeria announced new rules earlier this month to ease the restrictions, over a dozen African countries still have full bans – including Algeria, Egypt, Morocco, and Tunisia.

The bans have handicapped the digital art ecosystems in those countries. While more tech-savvy Nigerians were able to get around the ban, Victor Ekwealor, a Nigerian tech journalist, told me, it prevented most from investing in crypto art in the months after. 

A silhouette of a man with an orange afro set against a peach backdrop and green branches.

“The Boys,” a 2022 NFT produced by Lagos-based multidisciplinary artist Taesirat Yusuf.
Taesirat Yusuf

“At Peace,” a 2021 NFT produced by Lagos-based multidisciplinary artist Taesirat Yusuf.
Taesirat Yusuf

“Many African artists market to me directly because there are not enough collectors to buy their art,” Daliso Ngoma, a South African NFT collector and founder of African Technopreneurs, told me.  

Similarly, Rodney Asikhia, the owner of Tribes Art Africa, a contemporary art gallery in Lagos, observed,“The rate of patronage of NFTs by African artists is relatively low when compared to the patronage of works by artists from elsewhere.” 

This problem arises because most collectors of digital art by African artists are Africans. And Africa simply does not have enough high net-worth investors to collect NFTs at competitive international prices that could sustain the larger ecosystem. More global acceptance and patronage of the works of these artists by international collectors would lead to the greater growth of digital art on the continent. 

Another obstacle to the ecosystem is the weak economies of African countries. Minting an NFT could cost anywhere from a few dollars up to several hundred, depending on gas fees – the fluctuating processing fee for crypto transactions – and the platform on which the digital work is minted. However, even just initializing your account will cost approximately $60-70 on most platforms, according to The Verge. In countries such as Nigeria or Kenya, where the minimum wage is approximately $100 – 130 per  month, many artists struggle to earn enough to mint their works. 

Artists like Osinachi, Young Kev, Kevin Kamau, and others agree that providing artists funds to mint their first NFTs would boost participation in the crypto space. Some artists have even taken it upon themselves to do so on an informal person-to-person basis, playing their part in making this field of blockchain assets expansive and inclusive.  

But while artists have provided support to each other, Africa’s NFT sector needs infrastructure comparable to the traditional art world. In that self-sustaining ecosystem, artists make work, gallerists and art dealers market and promote it, and collectors buy it. Meanwhile, art institutions exist to support, develop, and sustain artists as well as facilitate the growth and promotion of art. Introducing this high level of organization and functioning to the digital art space would help onboard more interested people, along with the experienced players, to grow and promote digital art across Africa.

“Mgbaji (Waist Beads),” a 2022 NFT created by Nigeria-based artist and designer Chuma Anagbado.
Chuma Anagbado

“Nne n’ Nwa (Mother & Child),” a 2022 NFT created by Nigeria-based artist and designer Chuma Anagbado.
Chuma Anagbado

Towards this end, Charles Mbata, a digital art collector and curator, and Chuma Anagbado, an artist and entrepreneur, are bringing together artists, enthusiasts, and cultural figures to build a crypto art community in Nigeria. 

One of their initiatives is the Nigeria NFT Community, which organizes programs and fosters collaborations between artists in the space to get recognition by a wider, more global audience. Through a collection like Ape of Lagos, the community aimed to spotlight African artists creating NFTs on the Ethereum blockchain. They also organized 3rd Dimension, a virtual reality exhibition for Nigerian digital creators. A similar forthcoming exhibition is Metanoia, which will be held in New York, Nairobi, and Lagos. Other communities like Africa NFT Community, Black NFT Art, and Network of African NFT artists have filled similar roles, helping artists garner more sales, exhibitions and critical engagement. These communities have also facilitated training and information dissemination to artists and other creatives interested in NFTs.

People have often talked about how the NFT craze is driven by money and not the quality of the art. There is some validity to that opinion. It is undeniable that Beeple’s $69.3 million NFT sale at Christie’s and Osinachi’s NFTs achieving prices of $80,000 have created investment interest for collectors and hopes of a goldrush for artists.

But there are African creatives who are interested in doing serious work with NFTs. Nigerian graphic designer Mayowa Alabi, also known as Shutabug, said in an interview earlier this year that he wants his digital art to tell a larger story. Johannesburg-based art director Fahtuwani Mukheli, believes NFTs level the international playing field and give African artists access to audiences they may otherwise not have had access to. In an interview with TRT World, he said that NFTs “make us [African artists] compete completely with everyone at the same time in the world.”  

This expanded access and reach have convinced many African artists and art world professionals that it is therefore important to pay attention to the kinds of art they put out in the world – art that seriously engages with African reality and identity. 

The digital art ecosystem in Africa can yet experience more growth if  more is done to overcome the challenges it currently faces.

While there may not be immediate solutions to difficult home economies or unfavorable crypto laws, we can provide education to expand understanding of the space, develop infrastructure to onboard and diversify collectors, and to provide artists training on how to position their work for the ever-evolving market, while improving their artistic vision.

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Calvin Lucyshyn: Vancouver Island Art Dealer Faces Fraud Charges After Police Seize Millions in Artwork

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In a case that has sent shockwaves through the Vancouver Island art community, a local art dealer has been charged with one count of fraud over $5,000. Calvin Lucyshyn, the former operator of the now-closed Winchester Galleries in Oak Bay, faces the charge after police seized hundreds of artworks, valued in the tens of millions of dollars, from various storage sites in the Greater Victoria area.

Alleged Fraud Scheme

Police allege that Lucyshyn had been taking valuable art from members of the public under the guise of appraising or consigning the pieces for sale, only to cut off all communication with the owners. This investigation began in April 2022, when police received a complaint from an individual who had provided four paintings to Lucyshyn, including three works by renowned British Columbia artist Emily Carr, and had not received any updates on their sale.

Further investigation by the Saanich Police Department revealed that this was not an isolated incident. Detectives found other alleged victims who had similar experiences with Winchester Galleries, leading police to execute search warrants at three separate storage locations across Greater Victoria.

Massive Seizure of Artworks

In what has become one of the largest art fraud investigations in recent Canadian history, authorities seized approximately 1,100 pieces of art, including more than 600 pieces from a storage site in Saanich, over 300 in Langford, and more than 100 in Oak Bay. Some of the more valuable pieces, according to police, were estimated to be worth $85,000 each.

Lucyshyn was arrested on April 21, 2022, but was later released from custody. In May 2024, a fraud charge was formally laid against him.

Artwork Returned, but Some Remain Unclaimed

In a statement released on Monday, the Saanich Police Department confirmed that 1,050 of the seized artworks have been returned to their rightful owners. However, several pieces remain unclaimed, and police continue their efforts to track down the owners of these works.

Court Proceedings Ongoing

The criminal charge against Lucyshyn has not yet been tested in court, and he has publicly stated his intention to defend himself against any pending allegations. His next court appearance is scheduled for September 10, 2024.

Impact on the Local Art Community

The news of Lucyshyn’s alleged fraud has deeply affected Vancouver Island’s art community, particularly collectors, galleries, and artists who may have been impacted by the gallery’s operations. With high-value pieces from artists like Emily Carr involved, the case underscores the vulnerabilities that can exist in art transactions.

For many art collectors, the investigation has raised concerns about the potential for fraud in the art world, particularly when it comes to dealing with private galleries and dealers. The seizure of such a vast collection of artworks has also led to questions about the management and oversight of valuable art pieces, as well as the importance of transparency and trust in the industry.

As the case continues to unfold in court, it will likely serve as a cautionary tale for collectors and galleries alike, highlighting the need for due diligence in the sale and appraisal of high-value artworks.

While much of the seized artwork has been returned, the full scale of the alleged fraud is still being unraveled. Lucyshyn’s upcoming court appearances will be closely watched, not only by the legal community but also by the wider art world, as it navigates the fallout from one of Canada’s most significant art fraud cases in recent memory.

Art collectors and individuals who believe they may have been affected by this case are encouraged to contact the Saanich Police Department to inquire about any unclaimed pieces. Additionally, the case serves as a reminder for anyone involved in high-value art transactions to work with reputable dealers and to keep thorough documentation of all transactions.

As with any investment, whether in art or other ventures, it is crucial to be cautious and informed. Art fraud can devastate personal collections and finances, but by taking steps to verify authenticity, provenance, and the reputation of dealers, collectors can help safeguard their valuable pieces.

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Ukrainian sells art in Essex while stuck in a warzone – BBC.com

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Ukrainian sells art in Essex while stuck in a warzone  BBC.com



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Somerset House Fire: Courtauld Gallery Reopens, Rest of Landmark Closed

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The Courtauld Gallery at Somerset House has reopened its doors to the public after a fire swept through the historic building in central London. While the gallery has resumed operations, the rest of the iconic site remains closed “until further notice.”

On Saturday, approximately 125 firefighters were called to the scene to battle the blaze, which sent smoke billowing across the city. Fortunately, the fire occurred in a part of the building not housing valuable artworks, and no injuries were reported. Authorities are still investigating the cause of the fire.

Despite the disruption, art lovers queued outside the gallery before it reopened at 10:00 BST on Sunday. One visitor expressed his relief, saying, “I was sad to see the fire, but I’m relieved the art is safe.”

The Clark family, visiting London from Washington state, USA, had a unique perspective on the incident. While sightseeing on the London Eye, they watched as firefighters tackled the flames. Paul Clark, accompanied by his wife Jiorgia and their four children, shared their concern for the safety of the artwork inside Somerset House. “It was sad to see,” Mr. Clark told the BBC. As a fan of Vincent Van Gogh, he was particularly relieved to learn that the painter’s famous Self-Portrait with Bandaged Ear had not been affected by the fire.

Blaze in the West Wing

The fire broke out around midday on Saturday in the west wing of Somerset House, a section of the building primarily used for offices and storage. Jonathan Reekie, director of Somerset House Trust, assured the public that “no valuable artefacts or artworks” were located in that part of the building. By Sunday, fire engines were still stationed outside as investigations into the fire’s origin continued.

About Somerset House

Located on the Strand in central London, Somerset House is a prominent arts venue with a rich history dating back to the Georgian era. Built on the site of a former Tudor palace, the complex is known for its iconic courtyard and is home to the Courtauld Gallery. The gallery houses a prestigious collection from the Samuel Courtauld Trust, showcasing masterpieces from the Middle Ages to the 20th century. Among the notable works are pieces by impressionist legends such as Edouard Manet, Claude Monet, Paul Cézanne, and Vincent Van Gogh.

Somerset House regularly hosts cultural exhibitions and public events, including its popular winter ice skating sessions in the courtyard. However, for now, the venue remains partially closed as authorities ensure the safety of the site following the fire.

Art lovers and the Somerset House community can take solace in knowing that the invaluable collection remains unharmed, and the Courtauld Gallery continues to welcome visitors, offering a reprieve amid the disruption.

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