The Road to Venice Biennale: Richard Vedelago on Nigeria, Curation, and Local Identity

In the uprising conversation around Nigeria’s position within the global art ecosystem, only few platforms carry the symbolic weight of the Venice Biennale.

Often described as the “Olympics of art,” the Biennale remains one of the most influential stages for nations to showcase their creative identity to the world. As Nigeria prepares for its return in 2028, the appointment of Richard Vedelago to lead the curatorial vision shows an ambitious dynamic in how the country intends to present itself internationally.

During a recent conversation, Vedelago shared about his curatorial philosophy, the responsibilities that come with representing a nation, and the larger project of building sustainable infrastructure for Nigerian artists.

I began by congratulating him on the appointment and sharing my experience visiting Nahous. Although I had not yet visited Windsor Gallery, the atmosphere, architecture, and curatorial clarity present at Nahous left a strong impression. The environment gives a thoughtful approach to exhibition-making, one that prioritizes not only presentation but also experience, and both are owned by Richard. 

Vedelago received the observation warmly, noting that creating spaces where audiences can genuinely connect with art is fundamental to his curatorial practice. For him, exhibitions begin with subject matter, ideas that allow people to encounter artworks in ways that encourage reflection and personal interpretation. While each artist arrives with a unique voice, medium, and position, the role of the curator is to translate these expressions into a format that both first-time visitors and experienced collectors can engage with.

He explained that he wants viewers to move beyond the simple act of liking a painting. Instead, exhibitions should encourage deeper engagement, moments where audiences analyse, question, and challenge their own perceptions. In his view, many art spaces attempt to instruct audiences on what to think. His approach, however, is the opposite. Visitors should decide what they feel for themselves, because there is ultimately no right or wrong interpretation, only individual experience.

Our conversation soon turned to Nigeria’s absence from the current edition of the Biennale and what the country’s return in 2028 might represent. Vedelago described the project as a collaborative effort between himself and government stakeholders, though he has been given the freedom to shape the overarching vision. The decision not to participate in the current cycle, he explained, was strategic rather than accidental.

The ambition for 2028 is substantial, and rushing the process would undermine the scale of what the team hopes to achieve. Instead, the aim is to build momentum deliberately.

At the centre of that ambition is a clear assertion: Nigeria stands as one of the most dynamic positioning and creative centres on the African continent. With one of the largest Black populations in the world and an immense number of artists working across disciplines, the country possesses a cultural energy that extends far beyond its borders. The pavilion, in Vedelago’s view, should present this reality to the world by positioning Nigeria as a cultural powerhouse.

Yet representation at the Biennale inevitably raises questions about diversity and inclusion.

Nigeria’s artistic landscape is vast, and any national pavilion can only feature a limited number of voices. When I asked how he intended to navigate this complexity without falling into familiar global expectations about African art, Vedelago emphasised that the pavilion must remain focused on a specific message.

The selection of artists, he explained, is not a judgment of whose work matters more. Instead, it is about identifying the individuals whose practices best align with the curatorial narrative at a particular moment. Just as a national football team selects only a small number of players for a global tournament, the pavilion will present a group of artists chosen for their ability to realise a larger vision. The absence of others does not diminish their importance within the wider ecosystem.

For Vedelago, the success of the pavilion will also depend on the strength of the local art scene. Nigeria cannot position itself as a global creative leader without continuing to develop its domestic cultural infrastructure. Exhibitions, institutions, and artistic experimentation within the country all play a role in shaping how Nigerian creativity is understood internationally.

Infrastructure, therefore, became a central point in our discussion. Historically, the Nigerian art ecosystem has lacked consistent structural support for artists. Vedelago hopes the road to Venice will help address this gap by expanding access to international networks. Among his priorities is building relationships with global institutions, including long-term engagements with the Biennale itself and with Italian cultural organisations.

Residency programmes, training opportunities, and artistic exchanges could allow Nigerian artists to experience different environments and perspectives. Vedelago strongly believes that travel and exposure are essential to creative growth. Artists must encounter new ideas and contexts if they are to expand their thinking.

At the same time, he rejects the idea that Nigerian art must be translated or simplified for international audiences. The concept of “local” identity, he argues, is constantly evolving. Artists may express their connection to Nigeria through traditional techniques, contemporary media, or diasporic experiences. Each perspective forms part of a broader cultural conversation.

His role as curator, therefore, is not to define a single narrative but to create a space where multiple viewpoints can coexist. Artistic progress depends on listening, to histories, to experiences, and to the diverse voices that shape the cultural landscape.

Looking ahead to the next two years, Vedelago described an expansive programme leading up to the Biennale. The initiative will involve collaborations with galleries, technology partners, financial institutions, and cultural organisations. Exhibitions and activations across Africa, particularly in cities such as Dakar, Abidjan, and Johannesburg, will form part of the journey toward Venice.

These partnerships, he hopes, will transform the pavilion from a single exhibition into a broader movement for visibility and exchange.

As our conversation drew to a close, I asked what advice he would give emerging curators and artists seeking to position themselves within the global art ecosystem. Vedelago responded with a reflection on consistency. Curatorial practice, he explained, is built over time through research, observation, and sustained engagement with society.

Running multiple gallery spaces allowed him to curate exhibitions regularly, refining his perspective through repetition and experimentation. But the essence of curating, he insisted, lies not in arranging paintings on a wall but in cultivating conversation.

Aspiring curators must listen carefully, watch closely, and only then speak. Art, at its most powerful, becomes a platform for dialogue.

Ultimately, Vedelago aims to measure success not simply by the opening of a pavilion in Venice but by what happens afterward. If Nigerian artists gain greater visibility, if new opportunities emerge for collaboration and travel, and if the project encourages people to think differently about what is possible, then the initiative will have achieved its purpose.

In that sense, the road to Venice is not only about representation, but it is also about expanding the horizons of an entire creative community.