Dak’Art. 30 years of arts curation and reception in postcolonial African societies

Sendra Fernandez, Estrella (2020) Dak’Art. 30 years of arts curation and reception in postcolonial African societies. Arts Management Quarterly, 135, 74-80.

Record type: Article

Abstract

The 2020 Biennale de l’Art Contemporaine Africaine, more known as
Dak’Art, marked the 30th anniversary of this biennial meeting point of
African contemporary arts. Dak’Art was founded in 1990 as one of the major
state arts initiatives on the African continent after the 1966 First World Festival
of Negro Arts. Then called Biennale des Lettres et des Arts, the event
was aimed at offering Senegalese artists an international platform to showcase
their work and establish networks with fellow actors in arts production.
In 1996, it experienced a rebirth, repositioning itself as Biennale de l’Art
Contemporaine Africaine or Dak’Art, a name that continues up to now.
Dak’Art has been described as part of “the most discussed, loved, hated,
thought-provoking, and game-changing exhibitions featuring contemporary
art from African perspectives” (Vincent 2014). What is it that forges
this ensemble of mixed feelings? And why does this matter? In light of its
30th anniversary, it seems timely to address these questions, contributing
to the memory and celebration of the Biennale.
In order to do so, this article takes us to another key moment in the history
of this event, its 12th edition in 2016, which was also the fiftieth anniversary
of the 1966 First World Festival of Negro Arts.