A historic recognition for African art

In December 2025, Ghanaian artist Ibrahim Mahama became the first person from Africa to top ArtReview's Power 100, one of the contemporary art world's most closely watched rankings of influence. At 38, he took first place ahead of leading collectors, curators, museum directors and artists whose decisions shape the international art scene.

The recognition marked a significant moment for an artist whose work has long examined the histories of labour, trade and exploitation. Born in Tamale in northern Ghana in 1987, Mahama has built an international reputation through monumental installations made from discarded materials, transforming objects associated with everyday economic life into works exhibited across the world.

Yet his influence extends beyond the exhibitions themselves. Unlike artists whose international success is primarily reflected in commercial sales and museum acquisitions, Mahama has channelled proceeds from his career into building cultural institutions in Ghana. His achievement points to a broader transformation in contemporary art, where influence is increasingly measured not only by what artists create, but also by the opportunities they make possible for others.

Turning Ghana's history into monumental art

Mahama's practice is rooted in materials that carry traces of Ghana's economic and social history. Among his most recognisable works are vast installations made from used jute sacks, once employed in the transportation of commodities including cocoa, coal and other goods.

Stitched together and stretched across buildings, these weathered textiles turn ordinary architectural spaces into monumental works of art. Their surfaces bear marks of repeated use, making visible the labour, commercial exchanges and inequalities embedded in global trade.

His international breakthrough came at the 2015 Venice Biennale, where he presented Out of Bounds, a large-scale installation that brought his distinctive approach to a global audience. Subsequent projects have appeared at major cultural institutions, including London's Barbican Centre and galleries across Europe.

Through these installations, Mahama brings histories associated with Ghana and international trade into some of the world's most prominent cultural spaces. Rather than presenting African identity as a decorative theme, his work asks audiences to confront the economic and historical relationships that have shaped the continent's place in the world.

Building cultural power from Tamale

What distinguishes Mahama's career is his determination to invest in the cultural environment from which he emerged. In Tamale, he has developed a network of artist-led institutions, including the Savannah Centre for Contemporary Art, Red Clay Studio and Nkrumah Volini.

These spaces support exhibitions, artistic research, educational programmes and opportunities for young people to engage with contemporary art. Red Clay, in particular, has become known for its distinctive setting, which includes decommissioned aircraft repurposed as spaces for cultural and educational activities.

The decision to establish these institutions outside Ghana's capital, Accra, carries particular significance. It challenges the assumption that major cultural infrastructure must be concentrated in established metropolitan centres. By creating spaces for artistic production and exchange in northern Ghana, Mahama is contributing to a cultural ecosystem that connects local communities with international artistic conversations.

His position at the top of ArtReview's ranking reflects this dual role. He is recognised not simply as an artist whose work circulates internationally, but as someone creating the institutions through which future generations can develop their own artistic practices.

A new dimension of Ghana's soft power

Mahama's international recognition illustrates an increasingly important dimension of African soft power. Cultural influence is not limited to the global success of musicians, filmmakers or fashion designers. Contemporary art also offers countries a means of participating in international conversations about history, identity and the future of society.

For Ghana, Mahama's achievements reinforce a cultural reputation shaped by generations of artists and intellectuals. His work introduces international audiences to the country's historical experiences, while the institutions he has established demonstrate its capacity to contribute to the development of contemporary art beyond its borders.

The distinction is important for nation branding. A country's cultural reputation becomes more substantial when it is supported not only by individual achievements, but also by institutions that sustain creativity, attract international exchange and create opportunities for local talent.

Mahama's career brings these two dimensions together. His installations command attention in major international exhibitions, while the proceeds of his artistic success help finance cultural spaces in Ghana.

His rise to the top of the 2025 ArtReview Power 100 is therefore more than a personal milestone. It reflects the growing influence of African artists in determining not only what the world sees, but also how the global art world operates.

From Tamale to the world's leading art institutions, Mahama is demonstrating that cultural influence need not depend on leaving one's place of origin behind. It can also be built by investing in that place, developing its institutions and making it a centre of artistic exchange in its own right.