{"id":21952,"date":"2026-10-27T14:43:47","date_gmt":"2026-10-27T14:43:47","guid":{"rendered":"https:\/\/www.diptykmag.com\/akaa-a-new-lease-on-life-but-still-some-blind-spots\/"},"modified":"2026-10-27T14:45:30","modified_gmt":"2026-10-27T14:45:30","slug":"akaa-a-new-lease-on-life-but-still-some-blind-spots","status":"publish","type":"post","link":"https:\/\/www.diptykmag.com\/en\/akaa-a-new-lease-on-life-but-still-some-blind-spots\/","title":{"rendered":"AKAA: A New Lease on Life, but Still Some Blind Spots"},"content":{"rendered":"\t\t
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The return of influential galleries that had once deserted its aisles, photography taking center stage, works on paper, and new discoveries: Sitor Senghor\u2019s artistic direction is making its mark. A breath of fresh air, even if the limited presence of African galleries continues to raise questions.<\/b><\/p>

By Olivier Rachet<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Ernest Breleur, Sans titre<\/i>, 1994, collage, radiographies, peinture et gommettes autocollantes, 225 \u00d7 175 cm. Photo : \u00a9 Aur\u00e9lien Mole. Courtesy Ceysson & B\u00e9n\u00e9ti\u00e8re.<\/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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This is undoubtedly a clear sign, despite the gloomy atmosphere weighed down by a turbulent social situation in Paris that forced the fair to close on Saturday, October 24: several Parisian galleries, such as the Galerie Carole Kvasnevski and the Galerie Magnin-A\u2014which had temporarily pulled out of the AKAA fair\u2014are making a grand return. Carole Kvasnevski acknowledges that the artistic direction introduced last year by the Franco-Senegalese artist Sitor Senghor has played a major role in this. By highlighting African photography and works on paper in two separate sections\u2014following last year\u2019s celebration of ceramics\u2014the artistic director has hit the mark. A true <\/span>\u201cfair within a fair\u201d<\/span><\/i>, as event director Victorian Mann points out, the \u201cAKAA Photo\u201d section primarily fills a gap in events such as Paris Photo, which, as Sitor Senghor laments, <\/span> “featured only 6 galleries from the continent at its most recent edition”<\/span><\/i>. <\/span> <\/p>

Several female photographers are thus highlighted, such as South African Zanele Muholi and Cameroonian photographer Ang\u00e8le Etoundi Essamba, whose previously unseen 2022 series, \u201cNoir Vermeer,\u201d was exhibited by Carole Kvasnevski (between \u20ac18,000 and \u20ac30,000). While the Les Filles du Calvaire gallery presented a solo show by Maya In\u00e8s Touam (between \u20ac8,000 and \u20ac12,000), the Lisbon-based gallery This Is Not a White Cube showcased the \u201cBloom\u201d project by Dutch photographer Dagmar Van Weeghel, who uses portraits of women of African descent to reinterpret the business card format. Using traditional techniques such as anthotype\u2014which involves exposing paper to sunlight while impregnating it with plant pigments\u2014her works range in price from \u20ac3,000 to \u20ac10,000. Championing established artists, the Magnin-A Gallery\u2014which also had a second booth at Art Basel\u2014presented the well-known work of Omar Victor Diop. Alongside his iconic series <\/span>Liberty <\/span><\/i>and <\/span>Diaspora<\/span><\/i>, the gallery unveiled a new series <\/span>Allegoria<\/span><\/i> , created in collaboration with the Natural History Museum in Paris, with works priced between 10,000 and 20,000\u20ac.<\/span><\/p>

Although it was a bit cramped, the section titled \u201cLa M\u00e9moire des feuilles,\u201d dedicated to paper, <\/span>\u201ca medium that, like ceramics, remains undervalued,\u201d<\/span><\/i> as Sitor Senghor acknowledges, won over visitors with works that were as sensitive as they were socially engaged. Delicate works by the only Moroccan artist represented this year, Safaa Erruas (Dominique Fiat Gallery), were displayed alongside Bic pen drawings on recycled paper by the Haitian artist Jacques Frantz Guyodo\u2014works emblematic of art brut (Claire Corcia Gallery), and a diptych by the artist N\u00fa Barreto, represented by the Nathalie Obadia Gallery, depicting two upside-down American flags whose stars <\/span>\u201care falling apart\u201d<\/span><\/i> to quote the artistic director, who advocates for <\/span>\u201can activist art fair\u201d<\/span><\/i>. <\/span> <\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Rachel Malaika, Vierge Noire<\/i>, 2025, technique mixte avec mat\u00e9riaux recycl\u00e9s sur toile, 58 \u00d7 43 cm. Courtesy OpenArtExchange.<\/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 Balanced Program<\/b><\/p>

For its part, the general program\u2014which featured 28 galleries\u2014offered a balance between solo shows and group exhibitions, in which painting still took the lion\u2019s share. A booth that was particularly popular with the public\u2014that of the Parisian gallery Loo & Lou, which does not specialize in African art\u2014featured a solo show by the young South African artist Anele Pama, whose ochre palette aptly evokes the contrasting realities of a township. Gallery owner Bruno Blosse notes <\/span>\u201can interest in medium and large formats.\u201d <\/span><\/i> whose prices range from 1,000 to 5,000 euros. One of them was purchased by Christine Blach\u00e8re, who was captivated by this earthy painting. She had come to present a selection of works by Senegalese artists from the Blach\u00e8re Foundation in the fair\u2019s VIP lounge. Well known to the Moroccan public, the work of Senegalese artist Aliou Diack\u2014represented by the German gallery Artbase\u2014featured a series of large-format pieces (\u20ac30,000) created during a summer residency in Tunisia. A medium-format work <\/span>Heart <\/span><\/i>was acquired by a London collector, and a drawing was acquired by the Office of Culture in Wiesbaden, Germany. <\/span> <\/p>

Among the newcomers, the Arte de Gema gallery in Maputo, Mozambique, showcased digital collages by artist Thandi Pinto, who uses colonial archival images and subtly juxtaposes them with the contemporary era, creating a sense of ambiguity that is reminiscent of the work of the Brazilian artist based in Lisbon, C\u00e1ssio Markowski. The Zimbabwean gallery The Loft3 Gallery presented three artists, including Gillian Rosselli, who had already garnered attention at the 2024 Venice Biennale. Based in Paris, the curatorial platform Casa Vic\u00eancia, dedicated to contemporary Portuguese-speaking art, showcased the expressive portraits by Cape Verdean artist Amadeo Carvalho, created using acrylic paint and volcanic ash.<\/span><\/p>

The next challenge for Sitor Senghor and the fair\u2019s teams: finding a better balance between the overrepresented Parisian galleries and the still relatively few galleries from the African continent. While he points to high costs and the difficulty artists and galleries face in obtaining visas, the fact remains that an art fair dedicated to African art can no longer ignore the continent\u2019s vitality.<\/span><\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t

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Dagmar van Weeghel, Penda in Bloom \u2013 Do Not Refuse Me<\/i>, 2022, impression pigmentaire d\u2019archives sur papier Photo Rag avec marge blanche, 110,5 \u00d7 160 cm. Fleurs encod\u00e9es : pavot de Californie (Eschscholzia), rudbeckie (Black-eyed Susan) et lierre. Courtesy THIS IS NOT A WHITE CUBE.<\/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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Laurent Jasmin, Sans titre<\/i>, poudre de marbre et peinture acrylique, 73 \u00d7 60 cm. Courtesy Int\u00e9rieurs Particuliers.<\/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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Paul Kodjo, Photographie de mode, plateau, Abidjan (Fashion Photograph, Abidjan)<\/i>, 1970, tirage argentique, 40 \u00d7 50 cm. \u00a9 Paul Kodjo. Courtesy In Camera Galerie & Les Rencontres du Sud.<\/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\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"

The return of influential galleries that had once deserted its aisles, photography taking center stage, works on paper, and new discoveries: Sitor Senghor\u2019s artistic direction is making its mark. A breath of fresh air, even if the limited presence of African galleries continues to raise questions. By Olivier Rachet Ernest Breleur, Sans titre, 1994, collage, […]<\/p>\n","protected":false},"author":2,"featured_media":21953,"comment_status":"closed","ping_status":"closed","sticky":true,"template":"","format":"standard","meta":{"footnotes":""},"categories":[1611],"tags":[],"class_list":["post-21952","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art-market"],"yoast_head":"\nAKAA: A New Lease on Life, but Still Some Blind Spots — 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\/akaa-a-new-lease-on-life-but-still-some-blind-spots\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"AKAA: A New Lease on Life, but Still Some Blind Spots — Diptykmag\" \/>\n<meta property=\"og:description\" content=\"The return of influential galleries that had once deserted its aisles, photography taking center stage, works on paper, and new discoveries: Sitor Senghor\u2019s artistic direction is making its mark. 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