Table of Contents
NOS news•yesterday, 8:36 p.m
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Saskia Houttuin
Africa journalist
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Saskia Houttuin
Africa journalist
The music is on, there is a table full of snacks and Habibatou Yaye Keita has put on a dress with glitter. “This is my first solo exhibition abroad,” says the Malian artist proudly, at the opening of her colorful exhibition People of the river (people by the river). “It means a lot to me, because it is a great honor to be involved in the Dakar Biennale.
Every two years, artists and enthusiasts from all over the world gather in the Senegalese capital for this main event, also known as Dak’Art. This autumn, after a six-month postponement, the 15th edition will take place. Slowly but surely, contemporary art from Africa is gaining an increasingly prominent place on the international art market.
Animated art section
Keita takes part in the ‘Off’, a program organized by dozens of art galleries. In Galerie Arte, her vision from time to time shines to the door that always lets in new people of interest. “An exhibition in Senegal is very important to me,” says the young artist, who has to work as a hairdresser in Mali to make ends meet. Her pointillist paintings sell almost home country. “But here the art department is very dynamic. Here you have more galleries, more art collectors and meetings with other artists.”
So today’s African art is doing better and better. Works by African artists are sold at auction for higher prices. The biennale in Dakar is a good indicator of this, says Anna-Alix Koffi, owner of a gallery in Ivory Coast and curator of the exhibition NFT Africa. “This is the most important art fair on the continent, the whole world is watching.”
‘Incredible creativity’
However, according to Koffi, important steps are still to be taken, for example when it comes to financial and moral support for artists. “The creativity you find on this continent is amazing,” she says. “Some people understand that, and others don’t. Politicians in Africa must realize that art is better than force just like sports.”
Outside the continent, there is still a cliché image of what African art is, or should be in the eyes of others.
In a dark room it is on NFT Africa a series of ten digital artworks, made by artists from Africa or the diaspora, will be shown on screens. This is the type of art that she believes is still not really connected to the African continent, says Koffi. “People still think in colonial terms, but something is changing: artists are increasingly taking matters into their own hands, they say no more often. “
Khady Postma, who is working on a travel guide to Senegal, thinks the same. “There’s definitely still a lot to be gained in the field of art and in the art world when it comes to decolonization,” she said as she walked through the biennale’s main venue, the old courthouse. . “I don’t think we’re there yet. But I know that initiatives, such as the Dakar Biennale, can play a big part in this.”
The NOS walked around the old courthouse with the Senegalese-Dutch Khady Postma:
Dakar Biennale is increasingly known for its new African art
2024-11-26 19:36:00
#Dakar #Biennale #clichés #African #art
* How does the Dakar Biennale challenge the dominant Western perceptions of African art and contribute to a more inclusive and equitable global art world?
## Dakar Biennale: Deconstructing Clichés andElevating African Art
This compelling article delves into the Dakar Biennale and its role in challenging prevailing clichés about African art. Let’s explore it through open-ended questions and thematic sections:
**Thematic Sections**
1. **Challenging Colonial Narratives:**
* How does the Dakar Biennale contribute to decolonizing the narrative surrounding African art?
* What specific examples from the article highlight the persistent impact of colonial stereotypes on the perception of African art?
* What strategies, beyond showcasing diverse art forms, can be employed to effectively dismantle these colonial clichés?
2. **The Role of Artists in Driving Change:**
* How do artists like Hewad Koffi and Khady Postma actively seek to reshape the art world’s perspective on Africa?
* What challenges do they face in pursuing this decolonization within the art world?
* In what ways can artists be catalysts for broader social change beyond the art realm?
3. **Navigating New Avenues: Technology and African Art**
* How does the integration of technology, such as NFTs, impact the future of African artistic expression?
* What are the potential benefits and risks of incorporating digital platforms into the art world?
* Does the use of technology truly empower African artists or can it perpetuate existing power imbalances?
4. **The Dakar Biennale’s Impact and Future Vision:**
* What makes the Dakar Biennale a unique platform for showcasing African art on a global stage?
* What are the tangible impacts of the Biennale beyond the immediate artistic sphere?
* How can platforms like the Dakar Biennale evolve and adapt to further amplify African artistic voices in the future?
**Open-Ended Discussion Questions:**
* How might the perception of African art influence the representation of African cultures more broadly?
* Can art truly act as a catalyst for social change and decolonization efforts?
* What role do viewers and art institutions play in contributing to or challenging colonial narratives through their engagement with art?
By exploring these thematic sections and open-ended questions, we can engage in a nuanced and multifaceted discussion about the Dakar Biennale’s significance in promoting African artistry and challenging outdated perspectives on the continent’s cultural landscape.
