Igi Lola Ayedun, the founder of São Paulo’s first Black-owned gallery, Hoa, has taken a significant step to reshape the Brazilian art world. The gallery, which started as a residency program in 2020, has now rebranded as the Hoa Cultural Society, transitioning from its commercial roots into a nonprofit organization. With this transformation, Ayedun aims to address the deep-rooted racial and gender inequities in the industry while offering underrepresented artists an inclusive platform.
Hoa Cultural Society: A Vision for Change
Hoa Cultural Society is more than just a gallery; it is an incubator for cultural and artistic exploration. With the new structure, Ayedun seeks to empower marginalized artists, especially from Brazil’s Black and Indigenous communities. The society will provide an international artist residency, educational programs, grants, and a venue for exhibitions and performances, among other initiatives. Through these efforts, Ayedun hopes to disrupt the traditionally Eurocentric art scene and create a more sustainable, inclusive model that benefits artists from all backgrounds.
In an interview, Ayedun explained, “Hoa was never a traditional gallery; it always operated more like a non-profit institution.” She emphasizes that the rebrand allows Hoa to focus more directly on the pressing issues of structural inequality that it was created to challenge. By stepping away from a business-driven model, Hoa can engage with artists in a more meaningful way, offering essential services such as studio space, mentorship, and financial support.
Addressing Racial and Gender Barriers in Brazil’s Art Scene
Ayedun’s journey into the art world was not without its challenges. As a Black woman in Brazil, she quickly realized the barriers that non-white artists face in securing recognition and success. “Brazil is still a colonial country,” she shared, “I had to work much harder to convince collectors that the art I was showing was not second rate.” Ayedun knew that, in order to elevate artists from marginalized backgrounds, Hoa would need to offer more than just a platform for showcasing art. It would also need to be a support system that helped artists navigate the complexities of the global art market.
From the beginning, Hoa’s mission was clear: to help non-white artists thrive. This vision became especially urgent after the policies of former President Jair Bolsonaro gutted the Brazilian Ministry of Culture, leaving artists without state support. As Ayedun watched the economic divide grow wider during the COVID-19 pandemic, she was motivated to act. “I wanted to find a way to funnel some of that money into helping my peers,” she said.
New Initiatives for Artists: Education and Sustainability
Hoa Cultural Society is poised to offer a range of new initiatives to benefit emerging artists. Among these is a free online art school that will teach valuable skills such as applying for grants and managing an art career. In addition, Hoa will establish three annual awards, including one for mid-career women artists, aimed at elevating their work and encouraging career growth.
One of the standout features of Hoa’s rebrand is its emphasis on sustainability. Moving beyond the pressure of art fairs and commercial sales, Ayedun is committed to supporting long-term artistic development. The Hoa Cultural Society will focus on providing artists with a safe space to experiment and take risks. “I want Hoa to be a lab, a place where artists can experiment and fail,” Ayedun said. This focus on experimentation will also include the promotion of digital, conceptual, and new media art, fields often overlooked in traditional galleries.
International Partnerships and Global Exposure
In addition to local initiatives, Hoa Cultural Society is also strengthening its global connections. In collaboration with the French Embassy of Brazil and the Institut Français, the society will establish an international residency program that sends Brazilian artists abroad and hosts francophone artists in Brazil. This residency will not only help Brazilian artists build international careers but also foster cross-cultural dialogue and understanding.
Moreover, Hoa is partnering with Metro Arquitetos to launch a floating art pavilion in São Paulo’s Pinheiros River. The pavilion, set to debut during São Paulo Art Week in April, will showcase contemporary art and further solidify Hoa’s commitment to innovation and cultural exchange.
A Call for Support and a Future for Marginalized Artists
With its new nonprofit model, Hoa Cultural Society is seeking support from both private and corporate donors. The Brazilian Ministry of Culture has already granted the institution special status, allowing it to access funding through tax incentives. Ayedun is also working to build a network of non-white patrons who are committed to supporting racial justice in the arts.
Despite these efforts, the path ahead remains challenging. Ayedun points out that no other Black-owned gallery has emerged in São Paulo, leaving the careers of most non-white artists in the hands of white gallerists. As Hoa continues to evolve, its role in championing racial equity and fostering artistic talent is more critical than ever.
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