NOS
NOS Nieuws•vandaag, 20:36
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Saskia Houttuin
correspondent Afrika
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Saskia Houttuin
correspondent Afrika
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 The people of the river (people by the river). “It means a lot to me, because participating in the Dakar Biennale is a huge honor.”
Every two years, artists and enthusiasts from all over the world gather in the Senegalese capital for this leading 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 acquiring an increasingly prominent place on the international art market.
Lively arts sector
Keita participates in the ‘Off’, a program organized by dozens of art galleries. In Galerie Arte, her gaze occasionally darts to the door that constantly lets in new interested parties. “Exhibiting 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 pointillism portraits hardly sell in her home country. “But here the art sector is very lively. Here you have more galleries, more art collectors and meetings with other artists.”
NOSHabibatou Keita: hairdresser in Mali, artist in Dakar
Contemporary African art is therefore doing better and better. Works by African artists are auctioned for record prices. The biennale in Dakar is a good indicator of this, says Anna-Alix Koffi, gallery owner 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, there are still important steps to be taken, for example when it comes to financial and moral support for artists. “The creativity you find on this continent is incredible,” she says. “Some understand that, others don’t. Politicians in Africa need to realize that better, art is a force just like sport.”
Outside the continent, there is still a cliché image of what African art is, or should be in the eyes of others.
NOSThe Senegalese-Dutch Khady Postma reviews art at the Dakar Biennale
In a dark room it is on NFT Africa a series of ten digital works of art, made by artists from Africa or the diaspora, will be shown on screens. It is the type of art that she believes is still not really associated with 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 is certainly still a lot to be gained in the field of art and in the art world when it comes to decolonization,” she says during a walk through the main location of the biennale, the former courthouse. “I don’t think we’re there yet anyway. But I do know that initiatives, such as the Dakar Biennale, can play a major role in this.”
The NOS walked a tour of the former courthouse together with the Senegalese-Dutch Khady Postma:
Dakar Biennale increasingly famous for its modern African art
(Opening music plays, followed by the sound of a drink being poured)
Jimmy Carr (in his signature deadpan tone): “Welcome to the Dakar Biennale, where the art is modern, the music is lively, and the snacks are… well, let’s just say they’re a work of art in themselves. I’m joined today by the lovely Habibatou Yaye Keita, a Malian artist who’s exhibiting her work here for the first time. Habibatou, congratulations on your solo exhibition. I hear it’s a big deal.”
(Rowan Atkinson’s voice chimes in, in his best Mr. Bean impression) “Oh, yes! A big deal, indeed! (mimics a posh accent) One must always make a fuss about these sorts of things, don’t you agree, Habibatou?”
Habibatou Yaye Keita (laughs): “Yes, it’s a huge honor to be part of the Dakar Biennale. It’s a leading event in the art world, and I’m thrilled to be showcasing my work alongside so many talented artists.”
Ricky Gervais (in his sharp, observational tone): “I must say, Habibatou’s work is quite impressive. Her pointillism portraits are stunning. Although, I do wonder, what’s the deal with the glittery dress? Is that part of the art installation?”
Habibatou Yaye Keita (laughs): “No, no, it’s just me celebrating my first solo exhibition abroad! I wanted to make a statement, and what better way to do that than with a bit of sparkle?”
Lee Evans (in his fast-talking, excitable tone): “And what a statement it is! The whole atmosphere here is electric! I mean, the music, the art, the people… it’s like a big party! Although, I did notice that some of the art pieces are a bit… unusual. I mean, what’s with the digital art? Is that just a bunch of screens showing random images?”
Anna-Alix Koffi (gallery owner and curator): “Ah, no, no, no! That’s NFT Africa, a collection of digital art pieces created by artists from Africa and the diaspora. It’s a game-changer, trust me. The art world is evolving, and we need to evolve with it.”
Jimmy Carr: “Ah, yes, because nothing says ‘art’ like a bunch of screens showing digital images. I mean, where’s the skill in that? Anyone can create digital art with a smartphone and a few apps.”
Rowan Atkinson (in his Mr. Bean voice): “Oh, come on, Jimmy! Don’t be such a philistine! Art is all about pushing boundaries and exploring new forms of expression. (mimics a posh accent) One must always be open to new ideas, old chap!”
Ricky Gervais: “Actually, I think Jimmy has a point. I mean, what’s the difference between a digital art piece and a bloody meme? Where’s the substance?”
Khady Postma (Senegalese-Dutch art reviewer): “I think what’s missing here is context. The Dakar Biennale is not just about showcasing art; it’s about celebrating African culture and creativity. We need to support our artists and give them a platform to express themselves.”
Lee Evans: “And that’s what this biennale is all about! It’s a celebration of modern African art, and it’s fantastic to see so many talented artists coming together to showcase their work. Although, I do wonder, what’s next? Will we see more digital art? More… (gulps)… performance art?”
Jimmy Carr: “Oh, God forbid. Performance art is just a bunch of people pretending to be artists while making a mess. (rolls his eyes) I mean, what’s the point of that?”
(The group laughs, and the conversation continues, with the tone shifting between witty banter and insightful discussion.)
(Closing music plays)
Jimmy Carr: “Well, that’s all for today, folks. Thanks for joining us at the Dakar Biennale. It’s been a wild ride, but hey, at least the snacks were good.”
Rowan Atkinson (in his Mr. Bean voice): “Oh, yes! The snacks! (mimics a posh accent) One must always prioritize the snacks, old chap!”
(The group laughs as the music fades out)
NOS Nieuws
vandaag, 20:36
Saskia Houttuin, correspondent Afrika
The highly anticipated Dakar Biennale is underway, representing a pivotal moment for contemporary African art. The resplendent colors and captivating sounds emanating from Habibatou Yaye Keita’s debut solo exhibition, "The people of the river," have finally arrived in Dakar, marking a notable milestone for the Malian artist. "It’s my first solo exhibition abroad," Keita proudly professes, as she inaugurates her eye-catching exhibition, which has garnered immense attention at the opening event. "Participating in the Dakar Biennale is a colossal honor," she emphasizes.
Every two years, artists, enthusiasts, and collectors from across the globe converge upon the Senegalese capital for this premier event, commonly known as Dak’Art. This autumn, following a six-month postponement, the 15th edition of the Dakar Biennale will take place. The event highlights the increasing prominence of contemporary African art within the international art market.
Thriving Arts Sector
Keita’s participation in the "Off" program, a collaborative initiative involving dozens of art galleries, showcases her artistic prowess. As she glimpses at the door, she notices the influx of art enthusiasts, eager to experience her work. "Exhibiting in Senegal is pivotal to me," the young artist confides, alluding to her alternate profession as a hairstylist in Mali, where her pointillism portraits frequently fail to strike a chord. In contrast, the art sector in Senegal thrives, featuring a plethora of galleries, collectors, and artists.
Rising Revenues and Recognition
The rapidly growing recognition of contemporary African art is evinced by record-breaking sales at auctions. This upward trend is exemplified by the Dakar Biennale, according to Anna-Alix Koffi, a gallery owner from the Ivory Coast, who serves as the curator of the noteworthy exhibition "NFT Africa." "This is the most coveted art fair on the continent, with the entire world watching," she remarks.
Challenges Persist
Despite the advancements, essential support for artists remains a crucial challenge, encompassing financial and moral backing. "The creativity present on this continent is remarkable," Koffi acknowledges. "However, some grasp this reality, while others do not. African politicians must comprehend that art holds the same esteem as sports."
Beyond the African continent, a outdated image persists, posing African art as being confined to stereotypes. Khady Postma, a Dutch-Senegalese artistic critic, notes the necessity for further decolonization in the realm of art. "A multitude remains to be accomplished in the decolonization of art; initiatives, such as the Dakar Biennale, can play a significant role in shaping this transformation."
