Dak’Art has long been at the center of attention of academics as much as of the wider art world for its commitment to the promotion and development of the African artistic scene. The article we are presenting this week for our reading proposals explores its merits in details while also highlighting some critical aspects.
“The Biennial of Dakar and South-South Circulations” (2016) written by Professor of social and cultural anthropology Thomas Fillitz (University of Vienna), considers its role especially in the circulation of art works in south-south circuits by focusing on the biennial’s two main streams: the official International Exhibition (Dak’Art IN) and OFF, a non-curated event involving a multiplicity of actors in Dakar, which has been throughout the years a major factor in the success of Dak’Art even if formally independent from it.
The article is the result of direct observations and interviews by the author over a number of years, as well as statistical analysis of the provenience of artists and selections committee members for the biennials between 1996 and 2014.
The article convincingly argues for the incredible value Dak’Art (in both its streams) has had for the exposure of artists from the African continent internally and internationally through a number of personal trajectories by artists that first caught the international attention in Dakar and went on to have successful careers worldwide. It also highlights how OFF has been a major factor for the Senegalese artists in particular. Likewise, the International exhibition is defined as a cultural node for African artistic circulation, however, a number of aspects of this stream in particular are sources of criticism by Fillitz. The first critical aspect is historical, as especially in the early years of the biennial a large part (up to half) of the experts hired by the Ministry of Culture, which to this day is its official commissioner, were European or North Americans. After vocal criticism and a few failed attempts to modify this structure in 2010 finally the ministry decided for a complete overhaul of the committee selection leading to the current status which foresees a maximum limit of experts, who have to hold an African citizenship.
The other major criticism raised by the article to the biennial emerges from a more in-depth analysis of the artists exhibited and specifically their origins and cultural background. Looking at both IN and OFF’s editions until 2016, what emerges is a skewed regional participation from artists from francophone countries as well as from South Africa and Nigeria, leaving little room to those of East African origins. While this does not impact the overall importance of Dak’Art, it certainly raises relevant questions at a continental level towards access and opportunities for artists as well as art historically when we consider how the current dynamic and development of artistic/cultural tendencies are described.
REFERENCES/COPYRIGHT:
Full article freely available at: https://docs.lib.purdue.edu/artlas/vol5/iss2/6/
