2024-10-27 23:12:00
The contemporary art market has gone through a difficult year, but that of African art has held up well, according to studies. Considered emerging just a few years ago, it has managed to overcome fears of one-off interest and fashion. And among the trends, the increasingly marked presence of African collectors. A phenomenon observed at the AKAA contemporary art fair which has established itself as the major event in the field in France and which was held at the end of October in Paris.
Among the works of Reggie Khumalo, paintings representing women with colored hair, dressed in loincloths. Fabric comes out of the canvas and spreads out on the ground like a train. For the South African artist, the interest of collectors on the continent for works from home can be explained for several reasons. “ I think they can just feel the authenticity of the artist. They can sense the truth and spiritual work that is at work inside the artist and his work “, he maintains.
An essential interest from collectors for Victoria Mann, director of the AKAA show. “ The market could not develop without it. There had to be local awareness “, she assures. From now on, the continent is multiplying galleries, centers, and “art advisors” “ who have really dedicated their careers to developing and opening up this market », Testifies the director of the show. A ripple effect also highlighted by Linda Pyke at the head of the THK gallery in Cape Town.
Also readAKAA: “this shared perspective between the African continent and the rest of the world”
« Being interested in it seems more legitimate »
« The continent has just acquired its first contemporary art museums. The Zeitz MOCAA opened in 2017. Then, MACAAL opened as well as numerous institutions and foundations », says the gallery owner. The multiplication of these structures “ has the effect of establishing a market. If you have institutions that also encourage people to collect, being interested in it seems more legitimate “, she highlights. As close as possible to the market, there has definitely been a growing interest and a huge development of the collector base in Africa », Testifies Linda Pyke.
44 exhibitors and 36 galleries were present during this three-day event in Paris. And when it comes to big money, for Victoria Mann, director of the show, African artists are as highly rated as their counterparts from other continents. “ Today, a work by El Anatsui, a work by Gideon Appah, by Amoako Boafo can rise high. In spheres which are very important and which are unattainable for young collectors or favorite buyers “, she highlights.
Higher price ranges
If a new generation of artists is more approachable, however, at the AKAA fair, the specialist noted “ a real evolution of the average price range “. When AKAA started, it was between €2,000 and €8,000, but today it has increased to between €10,000 and €30,000. “ That doesn’t mean that there are no longer inexpensive works, there always are, but today, an artist at the fair sold for €25,000-30,000 sells without any problem. », assure Victoria Mann.
Marie-Cécile Zinsou, Kamel Lazaar in Tunis, Janine Kacou Diagou and Hassanein Hiridjee are among the continent’s great collectors. They support African artists, particularly through their foundations and their exhibitions.
Also readAKAA 2024: discover the works and prices of contemporary African art
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**Interview with Victoria Mann: The Resilience of the African Art Market**
*Editor:* Good afternoon, Victoria Mann, director of the AKAA contemporary art fair. Thank you for joining us today. After a challenging year for the contemporary art market, it’s encouraging to hear that African art is thriving. What do you think sets the African art market apart?
*Victoria Mann:* Thank you for having me. The African art market has shown incredible resilience primarily due to local engagement. There’s a burgeoning interest among African collectors which is crucial. As I always say, “The market could not develop without it.” The awareness and passion from local collectors have fueled this growth.
*Editor:* That’s an interesting point. One aspect I’ve seen mentioned is the authenticity of the works. Artists like Reggie Khumalo emphasize that collectors “can sense the truth” in the art. Why do you think authenticity plays such a pivotal role in this market?
*Victoria Mann:* Absolutely. Authenticity resonates deeply with collectors, particularly those from the continent. It speaks to their shared histories and cultural narratives. As more local institutions, like museums and galleries, emerge, they help to bolster this sense of legitimacy and connection to the art, making it more appealing to collectors.
*Editor:* Speaking of institutions, it seems that the establishment of contemporary art museums has also influenced the market. How significant do you think this development has been?
*Victoria Mann:* The opening of institutions like the Zeitz MOCAA and MACAAL is transformative. They provide not just venues for art but also platforms for dialogue and education, making art collecting more accessible and legitimate. This increase in cultural infrastructure has undeniably strengthened the collector base across Africa.
*Editor:* It’s fascinating to hear how these elements come together. The AKAA fair featured 44 exhibitors and 36 galleries this year. With such strong participation, how do you see the potential for emerging African artists at international levels?
*Victoria Mann:* The potential is immense. African artists are increasingly recognized in global markets, with works by prominent artists fetching high prices. This establishes them as equals on the international stage. It opens doors for younger collectors, even though prices can be challenging for them. What we’re witnessing is just the beginning of a rich and diverse representation of African art worldwide.
*Editor:* Thank you, Victoria, for sharing your insights. It’s clear that the African art market is not only surviving but thriving, driven by local collectors and cultural developments. We look forward to seeing how it continues to evolve.
*Victoria Mann:* Thank you, it was a pleasure speaking with you.
*Victoria Mann:* The establishment of contemporary art museums, like the Zeitz MOCAA and MACAAL, has had a transformative impact on the market. These institutions play a critical role in educating collectors, encouraging public discourse on art, and elevating local artists. They make art collection seem more legitimate and accessible, fostering a culture of appreciation. This ripple effect establishes a sustainable market, allowing artists and collectors to thrive together.
*Editor:* That’s fascinating. At the recent AKAA fair in Paris, you noted a shift in price ranges for artworks. What can you tell us about this evolution?
*Victoria Mann:* Yes, we’ve witnessed a real evolution in the average price range. When AKAA first started, prices for works ranged from €2,000 to €8,000. Today, that range has increased to between €10,000 and €30,000. While there are still affordable pieces available, the recognition of African artists is driving higher prices for their works. This is testament to the growing appreciation and demand for their art on both local and international stages.
*Editor:* It sounds like there’s a robust support system for artists developing in Africa, especially from local collectors. Can you elaborate on the role of major collectors?
*Victoria Mann:* Certainly. Prominent collectors like Marie-Cécile Zinsou and Kamel Lazaar play a vital role by supporting African artists through their foundations and exhibitions. They not only purchase works but also promote them, creating opportunities for artists to gain visibility and credibility. This kind of support helps solidify the market and encourages emerging artists to continue their practices with confidence.
*Editor:* Thank you, Victoria, for sharing these insights. It seems the future of the African art market is indeed bright and full of potential.
*Victoria Mann:* Thank you for having me. I’m excited to see where this journey will lead us next.
