{"id":21579,"date":"2026-10-01T17:22:12","date_gmt":"2026-10-01T17:22:12","guid":{"rendered":"https:\/\/www.diptykmag.com\/dakart-2026-what-visions-of-africa-does-morad-montazamis-selection-paint\/"},"modified":"2026-10-12T14:09:01","modified_gmt":"2026-10-12T14:09:01","slug":"dakart-2026-what-visions-of-africa-does-morad-montazamis-selection-paint","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/dakart-2026-what-visions-of-africa-does-morad-montazamis-selection-paint\/","title":{"rendered":"Dak\u2019Art 2026: What Visions of Africa Does Morad Montazami\u2019s Selection Paint?"},"content":{"rendered":"\t\t
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The artistic director of the 16th<\/b> Dakar Biennale has unveiled a tight selection of 54 artists who address the theme of <\/b>\u201c(anti)fragility\u201d with works that explore the concepts of repair and resistance in the face of global turmoil. <\/b> <\/p>\n

By Emmanuelle Outtier<\/p>\n\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Morad Montazami surrounded by his curatorial team: Madeleine de Colnet, Oulimata Gueye, Delphine Lopez, Fatima Bintou Rassoul Sy, and Youssouf Fofana (design section).<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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\u201cAll the selected artists seek to rethink our ways of living together, helping one another, and coexisting\u2014not only among humans but also with all living things<\/i>.\u201d In late September, at the Museum of Black Civilizations, the artistic director of the upcoming Dakar Biennale, Morad Montazami, unveiled his selection: 54 visual artists brought together under the theme of (anti)fragility, \u201can attitude that consists of turning fragility into an expressive force<\/i>,\u201d he explains, borrowing the concept from the Lebanese-American intellectual Nassim Nicholas Taleb. On paper, this is familiar territory. Resilience, care, co-creation: for several years now, these notions have been permeating contemporary art. They were already present at the last Venice Biennale, conceived by Koyo Kouoh, to whom Montazami pays tribute\u2014\u201cshe is one of the great inspirations for curators of my generation<\/i>\u201d\u2014and in whose wake this 16th edition may well follow. <\/p>

What does this selection suggest? It is short, tightly curated, and leaves little room for newcomers. Appointed in April, Montazami had to work quickly, facing the constraints of a biennale that selects its artists through an open call for submissions. Above all, it reflects his taste for artists whose careers have remained off the international radar, such as the Senegalese artist El Hadji Sy, a leading figure of the second generation of the Dakar School, Ernest Breleur from Martinique, recently rediscovered by a wider audience in \u201cParis Noir\u201d at the Centre Pompidou; and Pape Diop, a self-taught Senegalese artist who paints saints and folk figures on pieces of salvaged plywood. And this may be where one of the defining characteristics of this edition becomes apparent. There are few young artists fresh out of art school or being propelled into the spotlight for the first time. Montazami seems to prefer established practices and mid-career artists, supplemented by younger artists who are already well-established on the international scene. Less a biennale of emergence, then, than one of affirmation. <\/p>

The Moroccan selection clearly reflects this trend, featuring M\u2019barek Bouhchichi, Safaa Erruas, Fatiha Zemmouri, and Mohamed Laouli\u2014four artists whose artistic practices are already well-established. Montazami has also chosen Faouzi Laatiris\u2014for whom he curated a retrospective at the Mohammed VI Museum of Modern and Contemporary Art in 2016\u2014as the guest of honor, in perfect alignment with his theme of antifragility, which \u201cvalues social and community bonds<\/i>.\u201d For more than thirty years, Faouzi Laatiris has indeed inspired and trained an entire generation of Moroccan artists\u2014including Safaa Erruas herself\u2014through his studio \u201cVolume and Installation\u201d at the National Institute of Fine Arts in Tetouan (INBA), where he \u201cfounded a school\u201d\u2014a concept dear to Montazami.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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View of the former courthouse in Dakar, 2024.<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t
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A Biennale of African Circulations? <\/b><\/p>\n

Montazami scatters enough clues to give a glimpse of the overarching theme of this new edition: coloniality, repair, and resistance are central to many of the practices on display. Repair comes notably through recycling, which thwarts Western imperialism and globalized consumerism, as seen in Georges Ad\u00e9agbo\u2019s installations made entirely of scrap materials. But it also comes through local knowledge that has been marginalized by dominant cultures. M\u2019barek Bouhchichi will present a new installation in the form of an \u201cimmaterial library\u201d centered on Amazigh and Senegalese poetry. Similarly, the Surinamese painter Marcel Hendrik Pinas creates works based on the Afaka alphabet, a Creole alphabet invented in the early 20th century in a community rooted in slavery and marronage. Resistance also manifests itself in the recognition of the non-human and through a reflection on environmental violence. One of the sections of the international exhibition (what Montazami calls the \u201cline of flight\u201d) is aptly titled \u201cGreening the Old Courthouse: Decolonial Ecology, Agro-Resistance, and Knowledge of Medicinal Plants.\u201d <\/p>\n

Finally, the biennale continues to embrace a broader definition of Africa: not merely as a geographic entity, but as an imaginary space shaped in equal measure by its diasporas. Montazami and his curatorial team give prominence to art scenes that are more on the periphery of contemporary art circuits. While countries like South Africa and Nigeria command much of the international market\u2019s attention, they will ultimately be underrepresented in Dakar. Conversely, more niche scenes are emerging, from Suriname to Guinea, including island regions such as Cape Verde, Madagascar, R\u00e9union, and Mauritius. Montazami thus continues what his predecessors began: a dialogue between the continent and its diasporas, which share a history of displacement and trauma.  <\/p>\n

16<\/b>th<\/b> Dakar Biennale, Dak\u2019Art, from November 19 to December 19, 2026. <\/b><\/p>\n

Artistic Director: Morad Montazami – Curatorial Team: Madeleine de Colnet, Oulimata Gueye, Delphine Lopez, Fatima Bintou Rassoul Sy, Youssouf Fofana (Design Section).<\/b><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

The artistic director of the 16th Dakar Biennale has unveiled a tight selection of 54 artists who address the theme of \u201c(anti)fragility\u201d with works that explore the concepts of repair and resistance in the face of global turmoil. By Emmanuelle Outtier Morad Montazami surrounded by his curatorial team: Madeleine de Colnet, Oulimata Gueye, Delphine Lopez, […]<\/p>\n","protected":false},"author":2,"featured_media":21580,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1597],"tags":[],"class_list":["post-21579","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-news"],"yoast_head":"\nDak\u2019Art 2026: What Visions of Africa Does Morad Montazami\u2019s Selection Paint? — Diptykmag<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.diptykmag.com\/en\/dakart-2026-what-visions-of-africa-does-morad-montazamis-selection-paint\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Dak\u2019Art 2026: What Visions of Africa Does Morad Montazami\u2019s Selection Paint? — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"The artistic director of the 16th Dakar Biennale has unveiled a tight selection of 54 artists who address the theme of \u201c(anti)fragility\u201d with works that explore the concepts of repair and resistance in the face of global turmoil. 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