Words by : Kgomotso Moncho, an arts journalist specializing in theatre, performance and contemporary dance.
Ibrahim Mahama has become the first African artist to top ArtReview’s Power 100 list. The announcement places the Ghanaian artist at the centre of global contemporary art conversations this year. ArtReview publishes the list annually as a measure of influence in the international art world.
Mahama was born in Tamale in northern Ghana. He is known for working with reused materials linked to trade, labour and everyday circulation. His installations often use old jute sacks and other industrial objects. Many of these materials carry the history of global exchange, migration and colonial legacies. Mahama uses them to explore how economic systems shape daily life across African contexts.
He first received international attention at the 2015 Venice Biennale. Since then he has shown work in major institutions around the world. His projects often take place at architectural scale and inside public space. They invite viewers to question who produces value and who benefits from global structures.
Mahama also spends much of his time building arts infrastructure in Ghana. He founded the Savannah Centre for Contemporary Art in Tamale in 2019. He later opened Red Clay Studio, which holds exhibitions, archives and educational programmes. These spaces support artists and students while creating access to art in a part of Ghana that is often left out of cultural development.
Art Towards African Voices and Institution
ArtReview’s editors note that Mahama’s work reaches beyond object making and into community building. His approach challenges ideas about where art is produced and who leads its future. Many observers see this as part of a wider shift in contemporary art towards African voices and institutions.
Mahama’s Power 100 ranking also raises questions for younger creatives across the continent. It suggests that artistic influence is no longer limited to traditional centres such as Europe and North America. South African and African artists continue to expand conversations about labour, land, history and identity. Mahama’s recognition reflects that global audiences are listening differently.
For 10and5 readers, this is also a reminder of how younger African cultural workers are shaping the future of contemporary art and its institutions. Mahama’s practice connects local knowledge, global circulation and long-term cultural work. The significance of his achievement will likely carry into debates across the continent for years to come.
About Guest Writer:
Kgomotso Moncho-Maripane is an arts journalist with a specialist focus on theatre, performance, and contemporary dance. Her work is grounded in thoughtful cultural critique, rich storytelling, and a deep understanding of South Africa’s creative landscape. As a guest writer for Between 10and5, she brings an informed and nuanced voice to documenting the artists, movements, and narratives shaping the performing arts.
