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Meet Peju Oshin and three other women pushing Nigerian art – Toni Kan

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Peju Oshin

Meet Peju Oshin and three other women pushing Nigerian art – Toni Kan

Peju Oshin

The announcement of London based curator, writer and lecturer Peju Oshin as Associate Director at the Gagosian Gallery is an important one, highlighting as it does, the giant strides young Nigerian women are making on the global art scene.

Young, talented and driven, Ms. Oshin with a background in architecture made her art world entrée in 2015 and in the intervening yawn of time, has worked at the Tate as Curator: Young People’s Programmes. During her time at Tate, Peju Oshin who has expressed a deliberate concern and focus on the “marginalised” delivered “exciting and ambitious projects in support of young and emerging artists, as well as cultural leaders across the arts community” according to the statement announcing her appointment.

 

 

Continuing, the statement notes that in her new role, Peju Oshin is expected to continue to “promote the visibility of artists from both the global majority and those who identify as people of color through our own programming as well as within the greater arts ecosystem in London.”

Her move from the Tate, a bastion of the UK art establishment to the Gagosian Gallery, a commercial stronghold and home to some of the most influential artists of the 20th and 21st century while a testament to her talent and experience positions her as an emergent cultural powerhouse poised to expand the universe of opportunities open to usually marginalized artists.

 

 

 

Ms. Oshin is chairman of the Peckham Platform, an Associate Lecturer at Central Saint Martins and on the judging panel of Association of Women in the Arts (AWITA) London and JW Anderson partnership programme of exhibitions and interventions of female artists. She was shortlisted for the Forbes 30 Under 30 Europe list in the Arts & Culture category in 2021.

Adenrele Sonariwo started off as an accountant and had a four year stint at PricewaterhouseCoopers after graduating from Howard University. The art bug soon bit and her first salvo was a pop-up art university called The Modern Day School of the Arts (MDSA).

 

 

 

 

Conceived in 2010, Rele gallery did not take off until 2015 and it quickly made a splash opening up the space to a younger and hipper generation of Nigerian art connoisseurs and collectors. The Young Contemporary programme facilitated by the Rele Art Foundation has also created a pipeline for talented and wave making contemporary artists like Tonia Nneji, Chidinma Nnoli, Marcellina Akpojotor, David Otaru and IyunOla Sanyaolu.

Ms. Sonariwo was the lead curator of the first Nigerian pavilion at the 57th Venice Biennale and served as jury member at Dak’art Biennale in 2018, the same year she was listed by Vogue as one of the “Five Coolest Women in Lagos”

 

 

 

Having built Rele into an iconic Nigerian brand, Ms. Sonariwo has embarked on global domination with a move to America where Rele became the first contemporary African art gallery to set down roots in Los Angeles. Speculation is rife that a Rele London is in the works.

Ugoma Adegoke started her career as a financial analyst in oil and gas before gaining some work experience in real estate, Trained in economics, business and finance, Ugoma has made a career out of pivoting as a serial entrepreneur, a veritable Jane of all trades and mistress of all.

 

 

 

The LifeHouse, her first enterprise was an event center, art gallery, restaurant, yoga spot and more rolled into one. Her next venture was in fashion and design with the launch of Zebra Living. Deploying artistic expression for social impact saw her launching and playing the role of Festival Director for the Lights, Camera, Africa…film festival. Ugoma has added new feathers to her cap as gallerist, curator and tastemaker with her latest venture BLOOM Art, a portfolio gallery and private art salon set in the heart of Victoria Island, Lagos.

As founding director and chief curator at BLOOM Art, Ugoma has curated and produced art exhibitions with some of the most exciting and accomplished modern and contemporary artists including Muraina Oyelami, Tam Fiofori, Lemi Ghariokwu, Victor Ehikhamenor, to name a few. In 2007, she organised and curated a major exhibition of Professor Obiora Udechukwu’s works – his first showcase in Nigeria in over 20 years.

 

 

 

In December 2016, she was invited to Paris to speak at the Africa-focused conference of Comité Colbert, France’s premier cultural & luxury association while in May 2017, she was named an Ambassador of The African Art at the Venice Forum during the opening of the 57th Venice Biennale.

In February 2021, despite the Covid-19 pandemic and sluggish global economy Ugoma and Bloom Art originated, advised and executed the biggest private secondary market art sale and placement yet in Nigeria; the sale of Ben Enwonwu’s “Bonita”, valued at $1million thus making her and her gallery, the first Nigerian independent curator and dealer to successfully sell and place a modern art piece of such repute and value – a feat only previously achieved by international auction houses.

 

 

 

Tokini Peterside-Schwebig has put Nigerian art squarely on the global art map with Art X, her annual art festival, which launched in 2016 and quickly became “West Africa’s first and leading international art fair” one that has been hailed by the Financial Times as “a reflection of Nigeria’s potential on the global scene.”

Tokini has parlayed knowledge gained and skills acquired from a first class degree in Law from the LSE, an MBA from INSEAD and stint as head of Marketing at luxury brand Moët-Hennessy to build Art X into a reputable cultural festival.

 

 

 

Art X has become a major fixture on Africa’s culture calendar, pulling in over 80,000 visitors in just five years and highlighting the works of major African and diaspora artists while signposting Lagos in the global imagination as an emergent culture capital.

Undrlining her chops as a culture impresario, Tokini set up ART X Live! as an “accelerator for rising musicians and artists” while the ART X Prize has become Nigeria’s “leading award for visual artists.”
In 2018, Tokini and Art X were tapped to organize a special contemporary art exhibition in honour of visiting French President, Emmanuel Macron. The exhibition held at the New Afrika Shrine.

 

 

Named one of the 40 Under 40 in Africa by Apollo in 2020, Tokini serves on the boards of Yinka Shonibare’s GAS Foundation and EMOWAA (the Edo Museum of West African Art) among others.
Toni Kan is a Lagos based writer.

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PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE

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PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE

PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE

 

President Bola Ahmed Tinubu has congratulated his Senior Special Assistant on Digital Engagement, Strategy and New Media, Mr Otega Ogra, on his election to the Executive Committee of the World Federation of Advertisers (WFA).

 

The election took place today at the organisation’s Annual General Meeting, held during the Global Marketing Week Conference in Stockholm, Sweden.

PRESIDENT TINUBU CONGRATULATES OTEGA OGRA ON ELECTION TO WORLD FEDERATION OF ADVERTISERS EXECUTIVE COMMITTEE

President Tinubu described the development as a significant step for Nigeria’s growing influence in global communications.

 

He noted that Mr Ogra’s emergence as the only representative from West Africa and Sub-Saharan Africa on the Executive Committee reflects the depth of Nigerian expertise and the contribution of a new generation of young Nigerian professionals to global industry standards.

 

Mr Ogra was elected to the Executive Committee on the platform of the Advertisers Association of Nigeria (ADVAN), underscoring the role of Nigeria’s organised advertising and marketing industry in shaping representation at the global level.

 

The WFA is the leading global body for advertisers, representing over 150 multinational and Fortune 500 companies, alongside national advertiser associations across more than 60 countries, with a combined annual marketing spend running into hundreds of billions of dollars. Its Executive Committee is the organisation’s highest decision-making body, responsible for setting priorities and guiding global policy on responsible advertising, media transparency, sustainability, and the evolution of digital ecosystems.

 

President Tinubu noted that Mr Ogra’s election is both a personal distinction and a strategic opportunity for Nigeria and the African continent, placing them at the centre of global conversations on brand trust, platform accountability, innovation and the future of marketing and communications.

 

The President commended Mr Ogra, who also serves as Vice President of ADVAN, for his sustained contributions to strengthening Nigeria’s marketing and communications ecosystem, drawing on a career spanning leadership roles across the banking, manufacturing, and public sectors.

 

“Otega’s election reflects the growing recognition of Nigerian expertise and affirms our capacity to contribute meaningfully to the frameworks shaping global markets,” the President said.

 

President Tinubu added that the achievement aligns with his administration’s Renewed Hope Agenda, particularly in advancing the creative economy, strengthening digital governance, and positioning Nigeria as a competitive hub for innovation and enterprise.

 

Josh Faulks, CEO of the Australian advertiser association (AANA), and Simon Michaelides, Director General of the UK advertiser association (ISBA), also join the leadership team.

 

Current members of the executive committee, David Wheldon, President and Philip Myers, Deputy President, who is also the Chief Institutional Affairs and Corporate Communications Officer at Ferrero, continue in their current roles, as do all regional vice presidents.

 

 

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Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer

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Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer

Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer

 

 

The Nigerian Association of Social and Resourceful Editors (NASRE) has raised alarm over an alleged threat by Afrobeat artist Peter Okoye (Mr P) against journalist and NASRE Directorate member, Mr Bayo Adetu, warning that the singer will be held responsible should any harm come to the journalist or his family.

Hold Peter Okoye Responsible If Any Harm Comes To Our Member – NASRE Fires Back At Singer

 

In a press statement issued on April 20, 2026, NASRE’s leadership, led by Comrade Femi Oyewale, expressed concern over the incident reportedly occurring at the Ikoyi High Court during proceedings in the ongoing legal dispute involving P-Square and their elder brother, Jude Okoye.

 

 

NASRE views the alleged statement as inappropriate and unacceptable, stating that any language suggesting intimidation against a journalist performing lawful duties raises serious concerns about press freedom, safety, and professional ethics.

 

 

The association has therefore called on Mr Peter Okoye to retract the alleged statement and issue a public apology to Mr Bayo Adetu, while also urging all parties involved in the ongoing legal matter to conduct themselves with restraint, respect, and strict adherence to the rule of law.

Read the statement below:

PRESS STATEMENT
For Immediate Release

NASRE RAISES ALARM OVER ALLEGED THREAT BY PETER OKOYE (MR P) AGAINST BAYO ADETU IN COURT, WARNS OF CONSEQUENCES

The leadership of the Nigerian Association of Social and Resourceful Editors (NASRE), led by Comrade Femi Oyewale, expresses concern over an alleged threat issued by popular Afrobeat artist Peter Okoye, widely known as Mr P, against journalist and NASRE Directorate member, Mr Bayo Adetu.

The incident reportedly occurred at the Ikoyi High Court during proceedings in the ongoing legal dispute involving the music duo P-Square and their elder brother, Jude Okoye. Eyewitnesses present in court stated that Mr Peter Okoye drew the attention of Justice Alexander Owoeye to Mr Adetu’s presence, noting that he was formerly P-Square’s publicist but now works with his brothers. The remark reportedly generated reactions in the courtroom.

It is further alleged that after the court session, Mr Peter Okoye confronted Mr Adetu in the presence of others and said, “You, Bayo, I will set you up.”

NASRE views this alleged statement as inappropriate and unacceptable. Any language suggesting harm or intimidation directed at a journalist performing lawful duties raises serious concerns regarding press freedom, safety, and professional ethics.

We state unequivocally that should anything happen to Mr Bayo Adetu or any member of his family, Mr Peter Okoye will be held accountable. Such statements, when directed at a media professional, are taken with utmost seriousness.

NASRE will not tolerate any form of intimidation, harassment, or threat against its members. We are fully prepared to activate all lawful media and legal channels to protect our members and safeguard the integrity of the profession. Mr Peter Okoye must be aware that utterances of this nature carry consequences and he will be held responsible for any outcome arising from this matter.

We therefore call on Mr Peter Okoye to retract the alleged statement and issue a public apology to Mr Bayo Adetu. We also urge all parties involved in the ongoing matter to conduct themselves with restraint, respect, and strict adherence to the rule of law.

The safety of journalists remains paramount, and the media will not be silenced.

Signed:
Lateef Owodunni
Media Director, NASRE
April 20, 2026

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Fuji Star, Saheed Osupa Addresses Prado Controversy, Says Vehicle Was Compensation — Not Political Gift

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Fuji Star, Saheed Osupa Addresses Prado Controversy, Says Vehicle Was Compensation — Not Political Gift

By Alhaji Arems (Baba Fuji)

 

 

Nigerian Fuji star Saheed Osupa has responded to a wave of political controversy surrounding his recent campaign appearance in Oyo State, clarifying that a vehicle linked to the debate was not a political gift but compensation tied to a professional engagement.

The backlash followed the circulation of a Facebook Reel showing Osupa performing at an event associated with Sharafadeen Alli, who has declared interest in the Oyo State governorship under the All Progressives Congress (APC). As the video gained traction, it sparked renewed scrutiny over entertainers’ roles in political campaigns and the assumptions that often follow such appearances.

Amid the reactions, individuals aligned with the Peoples Democratic Party (PDP) circulated claims on social media alleging that Osupa, alongside gospel artist Yinka Ayefele, had previously received luxury vehicles from the administration of Oyo State Governor Seyi Makinde. The claims, which remain unverified, framed the alleged gesture as an example of questionable public spending and raised concerns about political loyalty.

Osupa has since pushed back against that narrative, offering a different account of events. In a video statement, the artist explained that his involvement in the campaign was strictly professional, based on a negotiated performance agreement rather than any form of political alignment.

According to him, he was engaged to perform at campaign events with assurances that he would be adequately compensated after the election. He, however, alleged that those commitments were not fulfilled following the electoral victory.

Addressing the controversy surrounding the vehicle, Osupa stated that his personal car was damaged during the course of the campaign. He said the replacement vehicle later provided to him was intended as compensation for that loss, not a discretionary gift or political reward.

His response reframes the discussion from one of political patronage to a dispute over professional obligations—an important distinction in an environment where entertainers are frequently enlisted to support campaign visibility.

The episode highlights a recurring tension within Nigeria’s political landscape: the blurred line between performance and perceived allegiance. For artists, participation in campaign activities can quickly shift from paid engagement to public endorsement in the eyes of observers, particularly when details of such arrangements are not clearly communicated.

Osupa’s clarification brings that tension into focus, underscoring how easily professional engagements can be recast within political narratives. As conversations continue, the situation points to a broader need for transparency in the relationship between public figures and political actors—especially in moments where perception can carry as much weight as fact.

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