AMIAF 2025 Proves Art’s Power to Drive Economic Growth in Nigeria
The 2025 edition of the Artmiabo International Art Festival (AMIAF), held at the Admiralty Conference Center in Victoria Island, Lagos, has powerfully reinforced a timely message: art has the capacity to significantly contribute to Nigeria’s economic revival.
Curated by Yusuf Durodola and founded by Ngozi Miabo Enyadike, AMIAF 2025 was themed “Artconomy – Redefining the Global Art Experience”. The event ran from April 29 to May 1, kicking off with a VIP opening night hosted by Moët Hennessy, and featured over 150 stunning works by 110 artists, both emerging and legendary, across various mediums.
A Cultural and Economic Showcase
From the monumental sculptures of Abu Momogima to the historical plastocasts of Pa Bruce Onobrakpeya, and captivating charcoal portraits by Stephen Osuchuckwu, AMIAF presented diverse visual narratives that explored national issues, personal stories, folklore, and societal reflections. Standout works like “Agbakanogieze” (a 6-foot alligator) and “Mother is Supreme” (a towering giraffe sculpture) wowed audiences with scale and message, emphasizing recycling and cultural storytelling.
Pa Onobrakpeya praised the event, saying, “The exhibition is excellent… like any good exhibition that you can find in most developed parts of the world.”
Voices of the Vulnerable
The festival also amplified voices from underserved communities. Young artists from Makoko, trained by Damilola Moses, displayed well-framed acrylic paintings that depicted life in their floating neighborhood. Moses highlighted how art education transformed these children’s lives, with some gaining admission to the University of Lagos.
Sculptor David Debayo and artist Richard Dickson added humor and humanity, with works like “Idle Alayo” drawing laughter and admiration. Meanwhile, Stephen Osuchuckwu’s emotional charcoal piece, “The Story of My Story”, shone a light on the resilience of women and children.
A Platform for Inclusion and Commerce
AMIAF has evolved into a springboard for unrepresented artists. “I founded AMIAF because I was once an unrepresented artist,” said Enyadike. “Now we give artists a platform to gain visibility, connect with collectors, and sell their work.”
She stressed that art isn’t just culture—it’s commerce. “Art contributes to GDP. It funds education, mentors youth, and supports families. We want the world to know that artists can sell in millions and billions too.”
The Future of Artconomy
Enyadike called on the Nigerian government to support the creative industry through SME initiatives. “Artists won’t run away with your money,” she emphasized. “We’re passionate. We create because we must.”
The festival closed on a high note, affirming that art is not just aesthetic—it is economic, cultural, and transformative.
