an unmissable event for contemporary African art, the dakar Biennial, wich closed on December 7, dedicated a pavilion to digital works for the first time. Guaranteed by an NFT, a digital certificate of authenticity, this crypto-art attracts more and more artists and collectors on the continent.
Linda Dounia He mainly creates digital works and, in his early days, found a lack of opportunities to make them known internationally. “ When I started my digital art practice, I realized that there weren’t manny spaces that could understand what I do and advertise it. », recalls the young Senegalese artist. there is no large market for this medium in Africa. » Then examine what his options are. “ I could have emigrated somewhere,but I really didn’t want to. I heard about NFTs and looked into it further.A friend was already interested in it, we talked about it and I decided to give it a try. »
digital artbut also painting and photography
Linda Dounia then turns to NFTs (Non-fungible token or non-fungible token), i.e. digital sales certificates that guarantee the authenticity and traceability of the work. This openness to the world allows him to form partnerships with important galleries, such as Christie’s, or clients such as the American company IBM.
She is one of eleven artists exhibited in the NFT pavilion at the Dakar Biennial. At his side, other digital artists, but also painters and photographers. “ I wanted to take this range of artists and disciplines to demonstrate that NFTs are applicable to absolutely everything, explains Anna-Alix Koffi, Franco-Ivorian creative director and curator of the pavilion. The NFT is the contract you give, so a work is NFT provided that “coined”, which had an electronic certificate attached to it. Anything physical can also be an NFT. »
Seen for the autonomy of the artist
with this pavilionthe councilor wants to promote this sales method among African artists who sometimes encounter difficulties in travelling. “ Having a visa to go to a biennial, a fair or an exhibition, you might think is elementary, but it is not, Souligne Anna-Alix Koffi. Many are blocked and remain there,the works are more mobile than the artists. “. Anna Alix Koffi thus sees NFTs as a visa for artist autonomy.
Big galleries and small collectors
Collectors sidesome on the continent have been interested in NFTs for several years. The development of NFTs allows them to find works by emerging artists at reasonable prices. “ It is great for small collectors, for people who are starting out or for young people who are interested in art, observes Kenza Zouari, Tunisian gallery owner and collector. For a collector, what is interesting is the challenge behind it. ok, I buy this work, but how do I show it? How do I expose it? Do I invest in a screen or print it? » With NFTs, artists can sell their works directly on online platforms. But intermediaries are frequently enough still needed to carry out educational work.
Read also contemporary art: recalibration or crisis?
what role does technology play in the creation and exhibition of contemporary African art?
Title: Exploring Africa’s Digital Art Movement: An Interview with Dr. Amina Ndiaye
Interviewer: Welcome to Time.news, where we delve into the most exciting trends in art and culture. Today, we’re joined by Dr. Amina Ndiaye, an esteemed art historian and curator specializing in contemporary African art. Welcome, Dr.Ndiaye!
Dr. Ndiaye: Thank you for having me! I’m thrilled to discuss the recent developments at the Dakar Biennial.
Interviewer: The Dakar Biennial is known for celebrating contemporary African art. This year, you highlighted that it dedicated a pavilion to digital works for the first time.Can you tell us why this is a notable milestone for the art scene in Africa?
Dr. Ndiaye: Absolutely! The inclusion of a digital pavilion marks a pivotal moment for contemporary African artists. it acknowledges the growing influence of technology and digital platforms in art-making.By embracing digital works, the Biennial opens new avenues for expression and engagement, especially for younger artists who are using technology as a medium.
Interviewer: That’s fascinating. I understand that these digital works were guaranteed by NFTs. How do you see NFTs impacting the perception and commercialization of African art?
Dr. Ndiaye: NFTs are a game changer. They provide a way for artists to authenticate their digital works, ensuring ownership and provenance. For African artists, who often struggle for recognition in the global art market, NFTs offer a means to reach broader audiences and monetize their art directly, without customary gatekeepers. It’s empowering!
Interviewer: It sounds like a major boost for representation. What kind of digital artworks were showcased at the Biennial, and how do they reflect the themes and cultures of Africa?
Dr. Ndiaye: The digital pavilion featured a diverse range of works,from virtual reality installations to animated pieces that reflect local folklore and contemporary issues—such as identity,migration,and climate change. Artists used digital media to weave rich narratives that resonate with both local and global audiences, showcasing the multifaceted nature of African culture.
Interviewer: how did the audience respond to the digital pavilion compared to traditional art exhibits?
Dr. Ndiaye: The response was overwhelmingly positive! Many visitors were intrigued by the accessibility of digital art. It provoked conversations about what art can be and where it can exist. The interactive nature of some pieces encouraged engagement, drawing younger audiences who may feel more at home in a digital landscape.
Interviewer: Engaging new audiences is crucial for the future of art. Looking ahead, what do you envision for the future of digital art in Africa?
Dr. Ndiaye: I see a bright future! As technology continues to evolve, I believe we will see more African artists harnessing digital tools. We could witness collaborative projects across the continent and beyond, pushing boundaries and challenging perceptions of art. Additionally, educational initiatives focused on digital literacy in the arts will empower a new generation of artists to explore these mediums.
Interviewer: Exciting times ahead! for those who weren’t able to attend the Dakar Biennial, how can they engage with this growing movement of digital african art?
Dr.Ndiaye: I recommend following artists and collectives on social media platforms where they share their work. Many are also selling their art as NFTs, making it accessible to a global audience. Additionally, keep an eye on virtual exhibitions and online platforms that celebrate digital African art.Engaging with this movement online can deepen yoru understanding and gratitude of the vibrant creativity coming from the continent.
Interviewer: Thank you,dr. Ndiaye, for sharing your insights on this thrilling evolution in African art. We look forward to seeing how these new digital landscapes develop!
Dr. Ndiaye: Thank you! It’s been a pleasure discussing the intersection of art, technology, and culture with you.
Interviewer: And thank you to our readers for joining us today! Stay tuned for more enlightening conversations on the evolving art landscape around the globe.