The 15th edition of the Dakar Art Biennale which has just opened is an illustration of this: we are witnessing a boom in contemporary African art. Galleries and foundations are multiplying, artists from the continent are achieving a certain notoriety and their works are selling more and more.
Sculptors, painters or photographers, contemporary artists from the continent are on the rise. According to Art Basel in Switzerland – one of the leading international contemporary art markets – African artists saw sales of their works increase from $47 million in 2021 to $63 million the following year. One of the consequences of this success is the multiplication of exhibition venues in Africa. Yacouba Konaté is the director of the gallery of the Arts Rotundaone of the first in Abidjan. Since the beginning of the 2000s, he has seen these galleries develop. “ If I take the example of Abidjan, in 2006 there were perhaps three or four galleries but last year there were eleven, which also refers to the growing number of relevant artists. I get at least five a week who come to show me what they want to do. And then you have collectors who are starting to be interested in this object to the extent that the whole debate on heritage encourages everyone to understand that the heritage of tomorrow is the contemporary art of today ».
An artistic heritage that needs to be supported in its emergence. In Cameroon and Tunisia, for example, the French Development Agency supports two artistic centers, as Gaëlle Mareuge, head of cultural and creative industries at AFD, explains to us. “ We have the project called Bandjoon station in Cameroon, which is led by Barthélémy Toguo who aims to raise the level and quality of production of the artisanal sectors in Africa. The idea is to stimulate creation with artist residencies, monumental works and to promote the professionalization of artists. With Creative Africa (editor’s note) incubation program, we have the Cloud Visual Art project in Tunisia which proposes to use the art archive platform run by Wafa Gabsi and Khalil Liouane. It is also a platform of expertise which allows, in contemporary art, to actually have a virtual gallery to also reflect contemporary digital trends ».
Another effect of artistic success: the desire for these internationally recognized visual artists to return to their country to invest in creative structures or workshops, which Olivier Sultan, director of the Art-Z photo gallery in Paris, welcomes, rue Keller.
« All of this is a relatively new phenomenon and one that I find really very important because when we look at the rise of contemporary art, whether Western or Chinese or American, it has always been accompanied by local support. . And there, as support from certain authorities is long overdue, the most recognized artists take the initiative and say to themselves: “Okay, we’re not going to expect our governments to put their hands in their pockets! We’ll do it ourselves! » So, that’s really very positive. Before, success materialized through an installation in the West. Now it is beginning to materialize by a return, a return to the country ».
This is how the painter Bill Kouelany created the Ateliers Sahm in Brazzaville. Currently in Dakar, she accompanies, with the support of Fund Metisother emerging African artists so that they can confront the realities of the market at the biennial.
« Yes ! The idea that comes to me is to say to myself: “But what can we do for young people?!” » Selling to Brazza is not easy. That’s clear. I think an artist can go maybe a whole year without even selling. On the other hand, since 2014, I have taken artists to the Dakar Biennale. So there is a certain loyalty from collectors when they hear about Ateliers Sahminevitably they will come to the meeting. So, we actually hope that young people will have the opportunity to sell! ”, she said.
The Dakar Biennale expects more than 400,000 visitors by December 7. Obviously not everyone will be a buyer, but everyone will be able to see the vigor of African artistic creation.
