Since 1993 when the National Gallery of Art (NGA) was established as a parastatal in the Ministry of Information and Culture, Dr. Simon Ikpakronyi has been a founding staff member. Today, he is the Acting Director-General, having served at various management levels. In this interview with Assistant Editor (Arts) OZOLUA UHAKHEME, he speaks on the need to improve the artists-gallery relations, revive some of the flagship programmes, plans to build a befitting gallery edifice and how to reposition the gallery, among other issues.
You served three Directors-General (DGs) of National Gallery of Art at management level. With these experiences, what are you doing to reposition NGA?
Since 1993, National Gallery of Art has passed through three DGs and each of them performed differently. Their performances were never the same. Each of them had different directions and we are in the era of next level. God has moved us successfully to the next level and we, me in particular, have served three Directors-General. I served the pioneer DG, Dr. Paul Dike; Joe Musa, the second DG that served two years plus, and Abdullahi Muku who served about decade. I worked with all of them closely. I think we tried our best to move the National Gallery of Art to an enviable position, both in Africa and the outside world. But, we don’t have any gallery complex yet, we must own one.
As I was telling the NGA board members, we need an edifice so that all that we’ve been doing over the years can be preserved and promoted. Without an edifice, nobody will know what the National Gallery of Art stands for.
Perhaps many are not seeing what we are doing, but if you have a gallery of art with works of various artists, masters and younger ones displayed for people to go and view and even if it is a stipend that is generated, the government will give it attention.
How will this be realised?
In the past, various attempts were made to have a befitting gallery edifice. But today, all we need do is to intensify efforts on how we can make it realisable. It is one of the issues raised at one of the board meetings in Lagos. We had only two major agenda, which were the edifice and how we can reform the gallery and improving the budget.
Also, the stakeholders’ think-tank that the former Director-General Joe Musa put in place must be revived. Though the think-tank was made up mostly of arts collectors, we are also going to sieve out the art collectors to tap from them on how we are
going to achieve this dream of building a National Gallery of Art. We are also working on how to revive the Society of Nigerian Artists arts competition, which is held every year in October. I think they have had about four or five editions. If we can do that every year, it will bring all the artists from all over the country not only for the exhibitions. It will also afford artists and the gallery the opportunity to interact on how to move the art forward. As I said, because we don’t have what Nigerians can see and feel or identify with the art, that is why NGA is being treated with levity.
Some of your flagship programmes have been off the scene. Are you reviving any?
Yes, very much. In fact, I have discussed with my head of departments about these programames and
how to revive them. For instance, the Arts Expo, which we left for AGAN to organise thinking they would be able to continue with it, we must bring it back either in a different form or in its original form.
We also intend to take off with Nigeria Art Biennale, which logo was launched long ago to replace the African Regional Summit and Exhibition on Visual Arts (ARESUVA).
We may not have to rely on the government for funding. Our plan is to seek alternative sources of sponsorship for most of the programmes. We will go to art collectors, good spirited individuals and organisations that support the arts. It’s not that we are going to have it big at once or at the beginning, we have to start somewhere with whatever resources we have even if we involve two to three African countries at first. The next year we can move ahead. We may not take on many programmes at a time, but we have to do programmes that would attract people such that when we stage it, people will know that we stage a programme that involves all the artists.
In all of these programmes, which one is dear to your heart?
All NGA programmes are dear to me; it depends on how we handle it. All of them are dear because they all have to do with artists.
What is the state of NGA”s national art collection that was under you?
I have to be sincere, our artworks in our collection are not enjoying themselves because they are not where they are supposed to be. We collect to display for public to appreciate.
Unfortunately, most of our collections are in the store. However, if some of the artists should have the opportunity to see our collection, it will not be a good story. That is why we need a place for these artworks.
What is your take on the relationship between NGA and the artists?
It has not been what it should be. When Dr. Dike came in, there was a problem with SNA and I was involved when the management of NGA wanted to resolve the issue at YABATECH. Since then, I don’t think the issue has been resolved. But, we are planning on how to meet with SNA to resolve it because if SNA had been strong, some of the problems NGA is experiencing would not have come to be. We must talk with one voice.
What is the update on the pending NGA bill at the National Assembly?
In all honesty, the bill is very important for the gallery and the artists. But, we do not have a befitting gallery in place to house our works. Let us have a gallery first, then we can pursue the bill. We are not throwing it out despite the experiences that trailed the last hearings.
What is your message to the art community?
Well, my message to them is that they should not get discouraged. There is hope that we are going to get there. With all the experiences, we should bring ourselves together and chart a new path.
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