Expert Interview “African contemporary art offers a renewed perspective on Africa” (Franck Privat Gonné)

Frank Privat Gonné is an art critic, specialist in African contemporary art, founder of Kultur Erbe, and researcher in Cultural Heritage at the University of Quebec in Montreal. He believes that African contemporary art offers a renewed perspective on Africa.

Contemporary african artists seek to create a new narrative of the African city. They move away from the stereotypes of primitive art to reflect the ongoing developments in post-independence sub-Saharan Africa. Their narrative captures the daily reality of what they live and see in the city. Although the heritage of traditional Africa is still present, these artists echo a rapidly changing urban Africa, reflecting the realities of emerging metropolises.

Despite attempts by Western gallery owners and art professionals to categorize them according to their own criteria, these contemporary artists manage to impose a narrative that is unique to them, much like Aboudia’s Nouchi graffiti. Saadio and his peers are thus contributing to the emergence of a new narrative that invites us to see Africa beyond tourist clichés and nature, thereby opening up new perspectives and contributing to building an authentic artistic identity.

What place do contemporary African artists occupy in the global market today?

It is undeniable that contemporary African artists are taking their place in the global art market. Some African capitals have become centers of excitement for contemporary creativity, including Cairo, Casablanca, Dakar with its biennial, Abidjan, Lagos, Nairobi, Harare, and many others. With the rise of contemporary art, African artists are positioning themselves in all art markets and international fairs.

However, much remains to be done in terms of structuring and oversight. Initiatives such as Arterial Network or the African Culture Fund are commendable as they help support cultural professionals and promote the growth of the cultural industry on the continent. Some festivals give a prominent place to contemporary African art, such as the Sur le Niger festival in Mali. It is clear that African artists have the potential to make their mark on the global art scene, and it is important to support these initiatives to promote their work and influence.

Walls seem to be the preferred place for artistic expression for many artists in Africa. Should African walls be heritage-listed?

Regarding the heritage listing of walls, I am in favor of this idea, but it should be decolonized in Africa, especially in francophone countries. It is necessary to move away from the top-down model of heritage listing, where states and their institutions define what constitutes heritage. This model, inherited from French thinking on historical monuments, needs to be revised to allow for a definition of heritage emanating from the communities themselves. This participatory approach would ensure better consideration of the diversity and richness of African heritage, while avoiding the pitfalls of an overflow of items considered as heritage.