Philanthropist Nachson Mimran at Alara Building in Lagos

Latest figures indicate there are more than 16 million high-net-worth individuals in the world, which means a lot of potential to contribute to positive change. LUX asks three of the globe’s most established social and environmental philanthropists to identify individuals of the new generation who are helping change the world for good

Philanthropist Nachson Mimran, Switzerland

Mimran is co-founder of to.org, an innovative organisation combining philanthropy, investment, startup accelerator and social-enterprise multiplier. He collaborates across creative and tech fields to support and empower the world’s vulnerable. “There are many synergies between the work of those I have nominated and the work of to.org,” he says.

Nachson Mimran & his daughter in an elevator in Gstaad, Switzerland

The Nominees

Kweku Mandela, US

“Kweku’s work as a producer and film-maker inspires movements that instigate positive change. Like to.org, Kweku understands the power of using culture as a Trojan horse to communicate important messages. As the grandson of Nelson Mandela, he also stewards the Mandela legacy.”

Elizabeth Sheehan, US

“Liz is a founding partner of Project Dandelion, a women-led movement for climate justice.
A global-health expert, she is a passionate philanthropist and creative leader working at the intersection of climate change, gender justice and health resilience.”

Hosh Ibrahim at a Mo Ibrahim Foundation meeting

Hosh Ibrahim, UK

“Hosh does important work to support stateless people and strengthen governance in the human-rights sector across Africa. He also serves on the council of his father’s foundation, the Mo Ibrahim Foundation in the Sudan, which works to strengthen the African voice around global challenges.”

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The philanthropist Neera Nundy

Philanthropist Neera Nundy, India

Dasra, or “enlightened giving” in Sanskrit, was co-founded in 1999 in India by Nundy and her husband Deval Sanghavi as a fund to invest in early stage non-profit organisations working in the United Nations Sustainable Development Goals areas of gender equality, urban resilience and sanitation. In 25 years, Dasra has unlocked over US$350 million and impacted over 180 million people through its trusted ecosystem, in a mission “to help transform India”.

The Nominees

Nikhil Kamath, India

“As the youngest Indian signatory of Bill Gates’ and Warren Buffet’s Giving Pledge, Nikhil
has committed 50 per cent of his wealth to causes including climate change, education and healthcare. Through his YouTube podcast, WTF Is, Nikhil, along with his business leader guests, is leveraging digital media to disrupt philanthropic giving by donating to audience- selected charities.”

Nikhil Kamath with Bill Gates in the podcast WTF Is

Radhika Bharat Ram, India

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“Radhika co-founded KARM Trust with her husband Kartik. The trust focuses on anchoring its unique fellowship programme, which involves empowering girls from economically challenging backgrounds in India to pursue their dreams, realise their potential and become catalysts to transform their communities.”

The philanthropist Ben Goldsmith

Philanthropist Ben Goldsmith, UK

A financier and environmentalist, Goldsmith is at the forefront of campaigns for rewilding in Britain and Europe, and founded and chairs the Conservation Collective (CC), a network of locally focused foundations. “To meet the scale of the environmental challenges ahead, we need more philanthropists like those I have nominated,” he says. “The solutions are within reach – if we can muster the funding and the collective will to act.”

The Nominees

Becky Holmes, UK

“At the helm of The Helvellyn Foundation, Becky Holmes has become a powerful advocate for environmental restoration. Her support of the CC’s Highlands & Islands Environment Foundation has been particularly impactful, funding local nature recovery projects across the Scottish Highlands and islands. She is one of those philanthropists who are not just investing in conservation, but leading the charge, reimagining the relationship between humanity and the natural world.”

Nancy Burrell at the Knepp rewilding project

Nancy Burrell, UK

“Chair of the Argosaronic Environment Foundation, Nancy Burrell aims to protect and restore the natural beauty of the Argolic and Saronic Gulf, where she has spent much of her life. Her early experiences at Knepp’s famous rewilding project in Sussex ignited a lifelong dedication to restoring wild nature. As a DPhil candidate at Oxford, Nancy is exploring the carbon storage potential within rewilded ecosystems – work that could prove vital in addressing the twin crises of biodiversity loss and climate change. She is one of the brilliant individuals representing a new era in environmental philanthropy.”

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The philanthropist Alina Baimen

Philanthropist Alina Baimen, Canada

Kazakhstan-born Baimen is co-founder and CEO of EdHeroes, a decentralised network aimed at improving access to quality education worldwide, in alignment with the United Nations Sustainable Development Goal 4. With previous charity work including leading kindergarten projects in remote areas of Thailand, she was featured in 30 Under 30 Forbes Kazakhstan in 2023. Says Baimen, “My nominees are true change-makers.”

The Nominees

Mangkunegara X, King of Surakarta, Indonesia

“His Majesty supports philanthropic projects in areas including Indonesian batik art and education. EdHeroes collaborated with the Royal Palace on the recent Masterpiece Batik Humanity in Harmony project. Organised by the Indonesian Paediatric Cancer Foundation and the Royal Palaces of Yogyakarta and Surakarta, it brought together batik experts and children with cancer in a celebration of art and bravery, and raised significant funds for cancer treatment for those children.”

A batik-creating event for cancer fundraising, supported by Mangkunegara X

Malala Yousafzai, UK

“The activist for female education is the youngest Nobel Prize laureate. She is one of the most inspiring people in the world through the scale of her personality, courage and belief in the power of education make this world a little better. We named her Malala Fund, which invests in girls’ education programmes, in our guide of organisations with outstanding impact, and have since been in touch with her team, who are real pioneers.”

Henry Motte-Muñoz, Philippines

“As founder and Executive Chair of edukasyon.ph, the largest edtech platform in the Philippines, Henry helps empower more than eight million students each year with advice, soft-skills training and academic support. He started his philanthropic journey very young and made it to Forbes 30 Under 30 lists. He also serves as a member of the EdHeroes Advisory Board.”

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two men black and white standing next to each other

Alain Servais is an investment banker and collector of art-as-ideas, whose family collection is showcased in The Loft, a repurposed factory in central Brussels. In a conversation moderated by LUX’s Leaders & Philanthropists editor, Samantha Welsh, Servais speaks with South Asian philanthropist and collector, Durjoy Rahman, about supporting artists who give minorities a voice and make people think.

two men black and white standing next to each other

Alain Servais (left) and Durjoy Rahman (right). Photo montage by Isabel Phillips

LUX: How has business shaped your your passion for art?

DURJOY RAHMAN: I started my career at a very young age when I started my business in textiles and garments production. It was when I started exporting that I found that I experienced a negative perception about Bangladesh. I had to engage in a kind of cultural diplomacy when I went to business meetings! I would talk positively about the good things happening in Bangladesh, sharing what was interesting for buyers in course of business development.

ALAIN SERVAIS: For me it was about filling a gap rather than part of my business plan. Investment banking is about trying to understand human nature, anticipating what will happen, asking questions, maybe about the effects of a societal drift to the far right, or changing attitudes to minorities, the potential disruption from new tech and social media, and so on. So understanding herd instinct is very important. In its way it’s pretty sterile as it is all about money. You are missing the voices of so many different people. That is what is interesting in Art.

LUX: How did you become interested in art?

AS: I have no collector-parents, no experience of studying or making art at all, I fell into art by accident. It’s about the convergence of those interesting parts of human nature, professional and private, a kind of curiousness. And that came from working in investment banking, because you are so used to absorbing a massive amount of data and opinion to make decisions.

DR: It was an accident for me too. I was visiting New York and I first saw the silk screens of Marilyn Monroe and Ingrid Bergmann (which in fact I eventually collected). I decided to license and reprint the graphics on a European fashion brand T-shirt, by Replay I remember. It was this fashion x art collaboration which catalysed my art journey.

LUX: So discovery is a big part of your vision?

DR: Yes, I was frequently away on business in Europe and North America, and I would visit the many galleries and museums as I was passing through, always noticing the contrast with South Asia, where we had few institutions despite our long cultural heritage and traditional practices. So that’s why I decided that one day I would do something about it by creating a platform of my own.

AS: I love traveling, discovering other cultures, getting close to parts of the world that people have prejudice and ignorance about.  I had the chance to go to Bangladesh and discovered a totally different, very rich culture. The way I process the experience is through bringing back works of art.

LUX: Should collectors open the door to alternative realities?

AS: We should stop making out that collectors are Superman/woman! We are just human beings finding outlets in art, revealing society’s many problems in the process.  This is about my own interest in contemporary culture.  I have a real problem with nostalgia and the selfishness of it all.

sculptures free standing in studio

Artworks in a 2019-2020 exhibition at The Loft, the 900 square meter space which has housed the Servais family collection since 2010.

LUX: Is this why you collect ‘emerging’ artists?

AS: Emerging artists for me are the artists who are not selling-out to that nostalgic drive. It’s about the art created today that is worth preserving. Every major museum on the planet is based on the private collections of a few crazy collectors who plugged into whatever was going on in society at that time and collected artists who were expressing that in a particularly advanced way. For instance, forty years ago, Sophie Calle the French installation artist was already anticipating social media and reality shows – people want to watch people. So it’s about collecting and preserving artists’ works really early on, when Society does not yet understand their message.

DR: I agree, I really dislike the term ‘emerging artist’! These are claims not accurate predictions of who will be a great artist. In the art world, there is a structure, a platform, discipline, practice, so we can to an extent deduce who may emerge to be a strong or great artist. As to how successful they will be, that is far harder to judge. If you look at Bangladesh, Bangladesh is only 52 years old, so most artists here have actually been ‘emerging’ since 1971 ie post-Independence. DBF supports artists from this period and empowers them to create innovative bodies of work, influenced by social change. It’s about their context, their transmission of their knowledge and their influences.

sofas in room with art on walls

Durjoy Bangladesh Foundation Creative Studio in Dhaka features works from around the Global South including, ‘Orator’ By William Kentridge (right) and ‘Rise of a Nation’ By Raghu Rai (left)

AS: Yes, yesterday I bought an innovative work from an artist from Bali. She had been totally underestimated to the extent she had never, in fact, even been called an ‘emerging artist’. She had, though, created new narratives through traditional Balinese painting and coloration, all pretty outrageous and about sexual liberation, lots of crazy images of penises, vaginas and everything. A good artist is someone that sends a message to the world, and a good collector is the one that understands this message before the masses. They are two sides of the same coin.

LUX: How is art messaging the voices of minority artists?

DR: We should first define what ‘minority’ means. After all, it means different things to different people. Sometimes, I feel like a minority when I enter the room at an event in the global North! It can be discomforting but I get over it with introductions and conversations.

AS: Yes, Durjoy, you’re right, you are a minority when traveling, and I am even an minority in Belgium – because when people visit The Loft they don’t get the art at all and probably think my kids should be taken into care! We are both minorities because we are both free-thinking individuals and non-conformists.

free standing art

The Great Revel of Hairy Harry Who Who: Orgy in the cellar, 2015, by Athena Papadopoulos, in Dérapages & Post-bruises Imaginaries, the 2018-2019 exhibition at The Loft in Brussels.

DR: With the minority artists in Bangladesh, it’s not just about their religion or social status but can be about differences in cultural practice. For example, the remote Hill Tracts indigenous communities in Bangladesh are considered to be minorities, so when we talk about the cultural heritage of Bangladesh, DBF showcases their arts and crafts to the global North. By shining a light on their art we are bringing them into the discourse and including them in society. With our Future of Hope program during Covid, we included these indigenous artists from the Hill Tracts and two have become very prominent right now. Similarly, we took our project for Kochi Biennale from the remote northern region of Bangladesh. This was a very significant artwork created by ethnic communities who would never have been exhibited on the world stage.

sculpture of women dancing

Installation view of Bhumi, with support from The Durjoy Bangladesh Foundation, at the Kochi-Muziris Biennale, India.

AS: I learn a lot from the artists from the global South. Recently, I bought a work by a photographer from Bangladesh. It is an image around infrastructure, bridges, highways and I wanted it not just because I loved the aesthetic but because the message around it was deliberately unfinished. After I’d bought the work, not before, I made sure I sat next to the photographer at the festival dinner and was grateful for the experience of talking with him, on equal terms. It is a two-way business.

LUX: What is the responsibility of the audience toward the artist?

DR: Artists practice as they wish. It’s how the audience accepts their work that is the question. As a collector and as a founder of a foundation, we open up the opportunity for a deeper engagement from the audience with the artist’s social concerns. These activations are beyond direct action and inventions, creating a positive ripple effect. You have to ask yourself, ‘Am I here to change the world or to support a range of alternatives?’ We enable artists to create bodies of work that widen their potential for recognition on the world stage by bringing awareness of their voice and their cause.

portraits of women

Parables of the Womb by Dilara Begum Jolly at DBF Creative Studio.

AS: As far as the responsibility of the artist is concerned, I don’t like the quasi-deification of the artist. There are so many bad artists around! It is not enough to call yourself an artist to be an artist. I was with a collector in Istanbul last week and he told me he had reserved an exhibition space for a solo exhibition by an emerging artist, emphasising it had to be an artist with no gallery representation. It was to be for six weeks. He actually refused the the first offer, saying “I want to see if artists will fight for it!” For him, the fighting was an important element as so many artists were not thinking about what they are doing and why they were doing it.

LUX: Where do you think your art philanthropy will be, ten years’ from now?

DR: With DBF, we want to be an influential and vital activist who has used the power of art and culture to good effect, to make positive, impactful change in terms of social justice. I agree with Alain, we must question everything and that curiosity must inform our vision for the next decade.

a loft with art in it

Servais hosts exhibitions from his collection of international contemporary artists at The Loft, where he also hosts artists’ residencies.

AS: Because governments are funding the arts the arts less and less, I spend more and more time documenting the works I’m acquiring! I’m doing this to record for posterity the complexity of the artist’s thinking. I hope institutions give more power to curators to offer opportunities to interesting artists so we have the vital two-way discussions. I think we are going to go through extremely difficult times and I would not like to be this young generation. We need people like Durjoy, we need these discourses, we must give people a voice, and we must make people think!

 

Find out more: durjoybangladeshfoundation.org

Servais Family Collection on Instagram: @collectionservais

 

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