THE UNIVERSAL LANGUAGE OF CONTEMPORARY ART
Collector Feature with Samallie Kiyingi
Words by The Art Momentum Editorial Team
November 2021
Samallie Kiyingi is a lawyer by training and an art collector by passion. Her collection focuses on elevating the work of African artists, which she achieves not only through her support for institutions but by directly supporting the artists themselves. As the founder of Artnaka, a private members’ platform focused on art from Africa and its diasporas, and a founding member of Tate Modern’s African Art Acquisition Committee, Samallie demonstrates her firm commitment to progressing the rapidly growing field of contemporary art from the continent. In this Collector Q&A, she shares her perspective on the convening power of art fairs, the ways in which collectors can contribute to creating sustainable careers for artists, and the universal language of contemporary art that (re)connects us with our common humanity.
SAMALLIE KIYINGI PHOTOGRAPHED BY OTHELLO DE'SOUZA-HARTLEY
Q:
Reflecting on the 2021 curatorial theme for ART X Lagos, 'The restful ones are not yet born', what role do you believe art fairs – and the galleries, collectors, and visitors that participate in them – play in (re)imagining a future for the continent?A:
The thing I love the most about art fairs is that they are amazing spaces for learning and discovery. While probably not the best place to experience art, fairs provide a unique setting which brings together artists, curators, historians, gallerists, and art enthusiasts to engage with, learn about, and support art. It is this convening power that makes art fairs such a significant part of the art ecosystem.This is particularly important in the African context, where critical art infrastructure such as gallery networks and museums are sometimes lacking. Not only do art fairs make art more accessible to the general public, they are also at the forefront of driving much needed conversations across the continent around art, culture, history, and identity.
Q:
How will you be engaging and participating in this year’s hybrid offering at ART X Lagos?A:
Sadly, I won’t be able to attend in person this year, but the ART X team has done an amazing job of developing their online profile, not just in terms of promoting the fair, but promoting the artists as well. That is something that I have noticed is core to the ART X approach; it is very much artist-centric, which I appreciate.While physical events are always better – there’s nothing like seeing artwork in person – having a digital program is phenomenal. I live in Cairo and there are often international art events I want to go to that I am unable to attend due to work commitments or travel restrictions. Having the ability to engage digitally has been fantastic. I didn't attend ART X Lagos last year because of COVID, but I was able to participate virtually, which was the next best thing. I believe hybrid programming is the future and I hope that ART X Lagos will continue with their digital offering, even when things go back to “normal”.
Q:
How do your law and finance careers inform your decisions as an art collector?A:
Law and finance are what I do but not who I am. My passion for art (and music) predate my professional career. Contemporary art is a universal language that allows me to reflect on issues beyond the everyday and, in a strange way, (re)connect with our common humanity. While I am drawn to artists who in some way touch on the issue of justice, my decisions are very much informed by my engagement with artists and curators.
EVERLYN NICODEMUS, SILENT STRENGTH 37, 1990. OIL ON CANVAS. 65 × 75 CM. IMAGE COURTESY OF RICHARD SALTOUN GALERY, LONDON
Q:
Who, in your opinion, are the artists to watch in 2022?A:
Three amazing artists from East Africa: Phoebe Boswell, Leilah Babirye, and Everlyn Nicodemus. I'm a huge fan of Phoebe Boswell, and I’ve been following her work for quite a while. The works that I tend to collect are her drawings on paper, which capture raw emotion in such a visceral way. Even though the emotions captured are sometimes quite challenging, the beauty of her work brings me joy and I love living with it.Leilah Babirye is an artist who I first came across in 2014. She has a very distinctive aesthetic language that she developed very early on in her career. She wasn’t afraid to take risks. I have one of her works on paper, a painting, and also a magnificent sculpture. Her work deals with identity and her position as a member of the LGBTQIA+ community within the Ugandan context and how that relates to history, culture, and belonging. Her work is defiant but beautiful, while also actively reclaiming space, which I really admire.
Everlyn Nicodemus is an artist who I was only introduced to this year. Even though Everlyn has been producing work for decades, her work has historically been overlooked by the art world. I am so happy that she is now being recognised. Her powerful work explores what it means to be a woman in the world and is based not only on her experiences but the experiences of many women across the world who she has collaborated with over the years.
Q:
Can you tell us about your move to support artists more directly, in addition to the ways in which you support art institutions like Gasworks or the Ugandan Arts Trust?A:
Artists need so much support before their work even reaches the market, which is why I believe that it's important that art institutions are supported. Sometimes, they fall under the radar but, without these institutions, you wouldn't have many of the artists that have become big names today. That remains something that I'm passionate about, but I’ve also recognised that there is an incredible need to support artists more directly.I won't say that Leilah Babirye was the catalyst for this decision, but her work forms part of the story. As I mentioned, I’ve been following her work for some time and I knew she had done an artists’ residency at 32° East, the Ugandans Arts Trust, an organisation that I support, but I had never actively collected her work. When I bought the first work that I have of hers, I reconnected with her and she told me that I was her first Ugandan collector. I couldn’t believe that was true. It made me think about the role that I play, particularly as an African woman collector, in supporting the practices of contemporary African artists first hand.