Reclaiming the Narrative: How Dak'Art Rewrites the Rules of African Contemporary Art

In the sprawling courtyard of Dakar's Ancien Palais de Justice, where French colonial administrators once dispensed their version of justice, a different kind of reckoning takes place every two years. Here, amid the weathered columns and fading grandeur of empire, Dak'Art stages its most audacious act: the reclamation of African artistic narrative from centuries of external definition.

The symbolism of this venue choice speaks volumes about Dak'Art's deeper mission. Since 1992, this biennale has done more than showcase contemporary African art—it has systematically dismantled the frameworks through which that art has traditionally been viewed, categorized, and commodified by the global North. In a world where African art still struggles against primitivist stereotypes and market manipulation, Dak'Art offers something revolutionary: a platform where African artists and curators set the terms of engagement.

"We are not here to prove anything to anyone," Salimata Diop, artistic director of the 2024 edition, told me during the opening week. "We are here to have conversations among ourselves, and the world is welcome to listen." This inversion of the traditional dynamic—where African artists must constantly explain and justify their work to Western audiences—represents a fundamental shift in cultural power that Dak'Art has been quietly engineering for over three decades.

The numbers tell part of the story: 58 artists from across Africa and its diaspora in the main exhibition, over 300 venues participating in the OFF program, visitors from 54 countries. But statistics fail to capture the electric atmosphere that transforms Dakar during the biennale. Taxi drivers become art critics, discussing installations they've seen. Hotels overflow with collectors from Lagos, Johannesburg, and Luanda—a reminder that African art patronage no longer depends solely on European and American validation.

This year's theme, "The Wake—L'Éveil—Xàll wi," curated by Diop, exemplifies Dak'Art's evolving sophistication. Moving beyond simplistic notions of "African identity," the exhibition explored complex themes of ecological consciousness, technological futures, and spiritual resilience. Agnès Brezephin's Grand Prix-winning work "Fil(s) de soi(e)" wove together threads of personal and collective memory, creating installations that spoke to universal human experiences while remaining deeply rooted in specific African contexts.

Yet Dak'Art's true innovation lies not in its main exhibition but in its democratic OFF program. Unlike the carefully curated central show, OFF opens the entire city to artistic intervention. From converted houses in Médina to pop-up galleries in Plateau, the program has launched more careers than any formal incubator. It was here that photographers Fabrice Monteiro and Omar Victor Diop first gained international attention, and where a new generation of Senegalese artists continues to emerge.

The economic impact cannot be ignored. During biennale season, Dakar's creative economy explodes. Galleries report year's worth of sales in a single month. Artists from across the continent network, collaborate, and forge relationships that sustain them between editions. More importantly, Dak'Art has inspired similar initiatives across Africa—from Lagos's Art X to Cape Town's Zeitz MOCAA—creating an ecosystem where African art can thrive without external validation.

Critics argue that Dak'Art, with its government backing and occasionally bureaucratic organization, lacks the radical edge of younger art fairs. The 2024 edition's postponement from May to November due to political transitions reminded everyone of the delicate dance between state support and artistic freedom. Yet this criticism misses the point. In a global art world still dominated by New York, London, and Hong Kong, Dak'Art's very existence as a major international platform based in Africa remains radical.

As I walked through the exhibitions during the final week, what struck me most was the absence of anxiety. Unlike international biennales where African artists often feel pressure to perform their "Africanness" for global audiences, here they simply made art. Complex, challenging, sometimes inscrutable art that demanded engagement on its own terms. This freedom—to be difficult, to be universal, to be hyperlocal, to be whatever the artist desires—may be Dak'Art's greatest gift to contemporary African art.

The 16th edition in 2026 will face new challenges as the global art world continues its digital transformation and climate concerns reshape international travel. But if Dak'Art's history teaches us anything, it's that this biennale thrives on adaptation. From its literary beginnings to its current status as Africa's premier art event, Dak'Art has consistently evolved while maintaining its core mission: creating space for African artists to define themselves, their work, and their place in global culture.

In the end, Dak'Art's revolution is quiet but profound. It doesn't seek to storm the gates of the international art world but rather to build an alternative center of gravity. Every two years, the art world's axis tilts toward Dakar, and in that shift lies the promise of a more polycentric future where artistic excellence isn't measured by proximity to traditional power centers but by the depth of vision and courage of expression. As the sun sets over the Atlantic, casting long shadows through the exhibition spaces, one thing becomes clear: Dak'Art isn't just showcasing the future of African art—it's actively creating it.

The OFF Is ON: How Dakar's Parallel Universe Rewrites the Rules of the Biennale

In the humid pulse of Dakar's early summer, when the Atlantic breeze carries equal parts salt and anticipation, Africa's most established contemporary art biennale undergoes a remarkable transformation. While Dak'Art—the official Dakar Biennale—maintains its position as the continent's longest-running international art exhibition, it's the OFF that has emerged as the event's most radical and revelatory force. In 2025, this parallel program doesn't merely complement the main exhibition; it fundamentally reimagines what a biennale can be when artists, not institutions, hold the keys to the city.

The OFF began in 2002 as a modest counter-program, a space for artists excluded from the official selection to stake their claim in Dakar's cultural landscape. Two decades later, it has evolved into something far more significant: a decentralized constellation of over 200 exhibitions that transforms the entire city into a living, breathing artwork. From the weathered colonial facades of the Plateau district to the vibrant chaos of Sandaga market, from rooftop gardens in the Almadies to repurposed warehouses in the industrial zones, the OFF has become Dakar's most democratic and dynamic cultural expression.

What makes the 2025 edition particularly compelling is how it has responded to the institutional challenges facing the official biennale. With bureaucratic delays and programming uncertainties plaguing Dak'Art's main exhibitions, the OFF has surged forward with remarkable vitality. Artists, curators, and collectives have seized the moment, creating a program that feels less like a sidebar and more like a manifesto for artistic self-determination in Africa.

Consider Na Chainkua Reindorf's "Strange Flesh" at Galerie Cécile Fakhoury, where the Ghanaian artist conjures a fictional female masquerade society through tapestries, sculptures, and paintings. Drawing from West African folklore and religious cosmologies, Reindorf creates a visual lexicon of non-conformity that challenges both gender binaries and the Western gaze on African art. Her work exemplifies the OFF's ability to platform complex narratives that might struggle to find space in more conventional curatorial frameworks.

At RAW Material Company, Zohra Opoku's "With Every Fibre of (My) Being" offers a quieter but equally potent meditation on Afro-diasporic identity. Through textiles and photography, Opoku interrogates the concept of return—not just to a physical place, but to a sense of self fractured by migration and memory. The tactile nature of her work, with its emphasis on fabric and fiber, speaks to the haptic quality that distinguishes much of the OFF programming from the sometimes sterile presentations of official exhibitions.

The OFF's geographical sprawl creates unexpected juxtapositions that enrich the viewing experience. In the collaborative exhibition "Dem Dikk/Viavai" at the Institut Culturel Italien, artists from Senegal and Italy transform documentation of Sandaga market into an immersive installation that blurs the lines between anthropology and art. The title itself—combining Wolof and Italian words for coming and going—captures the fluid, transnational dialogue that the OFF facilitates.

Perhaps no figure better embodies the OFF's entrepreneurial spirit than Rémy Mallet, founder of DakartNews and curator of "Symbols of Life: Beyond Perception" at Hotel Le Djoloff. Mallet's exhibition transforms a boutique hotel into a spiritual sanctuary, where mudcloth patterns and fingerprint motifs by artists Tidiane Ndongo and Djibril Coulibaly become meditations on identity and transformation. His curatorial approach—rooted in journalism but elevated by pan-African consciousness—represents a new model for cultural production that doesn't wait for institutional validation.

The OFF's relationship with technology offers another lens through which to understand its revolutionary potential. Artists learn beadwork techniques from YouTube to create contemporary sculptures, use WhatsApp to coordinate pop-up exhibitions, and leverage social media to build audiences that bypass traditional gatekeepers. The hashtag #TheNonOFFisON has become both rallying cry and archive, documenting a movement that refuses to be contained by physical or conceptual boundaries.

This technological embrace extends to the viewing experience itself. A new mobile app in development will allow visitors to navigate the OFF's sprawling geography through interactive maps, QR-coded artist statements, and real-time updates on performances and openings. It's a digital infrastructure that matches the OFF's decentralized ethos—user-generated, constantly updating, and resistant to top-down control.

Yet technology is merely a tool in service of the OFF's deeper mission: to reclaim public space for artistic expression. When Khalifa Hussein documents Senegal's recent protests in his exhibition "Lingeer" at the Institut Culturel Italien, he's not just creating art about politics—he's asserting art's right to occupy the same contested spaces as political action. His photographs, raw and unflinching, capture the emotional residue of civic unrest with a lens that refuses the distance of traditional photojournalism.

The economic model of the OFF also deserves attention. Operating largely outside the international art market's speculative bubbles, OFF exhibitions create value through community engagement rather than collector appeal. Artists barter skills, share spaces, and pool resources in ways that challenge the individualistic mythology of artistic genius. This collaborative economy doesn't just sustain the OFF; it models alternative futures for cultural production in the Global South.

As Dakar prepares for the official biennale's eventual opening, the question isn't whether the OFF will maintain its momentum—it's whether the official program can match the energy, innovation, and authenticity that the OFF has cultivated. The parallel program has become the main event, not through institutional decree but through the collective will of artists who understand that waiting for permission is a luxury they cannot afford.

The OFF exhibitions of 2025 represent more than an artistic movement; they embody a philosophy of cultural production that prioritizes process over product, community over commodity, and revolution over resolution. In transforming Dakar into an open-air gallery where art lives and breathes in dialogue with daily life, the OFF hasn't just rewritten the rules of the biennale—it's questioned whether we need rules at all.

Dakar Unleashed: Beyond the Canvas at the World's Most Vibrant Art Biennial

Forget the hushed galleries and polite murmurs. The Dakar Biennale, or Dak'Art, is an explosion of contemporary African art that spills from official exhibition spaces into the very soul of the city, transforming Senegal's capital into a pulsating hub of creativity, culture, and exhilarating celebration. This isn't just an art exhibition; it's a living, breathing ecosystem where groundbreaking artists, passionate collectors, and global revelers converge, creating an unforgettable tapestry of sensory delights.

The recent 15th edition, with its poignant theme "The Wake," showcased 58 artists from 33 countries, delving into the enduring legacies and future possibilities of African and diasporic experiences. But beyond the main venues like the magnificent Museum of Black Civilizations, Maison de la Culture Douta Seck, and the Galerie nationale d'art, Dak'Art truly comes alive in its "Off" program. This parallel universe of independent exhibitions, pop-ups, and impromptu gatherings scatters across Dakar, from hidden courtyards to beachfront cafes, offering an intimate and often raw encounter with art. Imagine stumbling upon a captivating installation in an unexpected alleyway, or discovering a rising star's work in a vibrant neighborhood gallery – these are the moments that define the Dak'Art experience.

Artists, Personalities, and the Creative Pulse

Dak'Art provides a crucial platform for African artists to gain international visibility and foster intercultural dialogue. The biennale attracts a diverse array of creative minds, from established figures to emerging talents. Conversations are not confined to formal talks; they ripple through the city's cafes, bars, and informal gatherings. You'll find yourself rubbing shoulders with artists discussing their latest inspirations, curators debating the nuances of African art history, and enthusiastic patrons eager to engage. The emphasis on community and connection is palpable, creating a powerful sense of belonging among attendees.

The City as Canvas, The Vibe as Art

Dakar itself is an integral part of the biennale. The city embraces the event, its streets and buildings becoming extensions of the exhibition. The influx of international visitors, curators, and critics injects an unparalleled energy. Beyond the formal art spaces, the city hums with activity. The "Doxantu" project, for instance, has seen monumental artworks created "In-Situ" along the Corniche Ouest, integrating art directly into the urban landscape and beautifying the coastal highway.

For the culture crowd that loves to have fun, Dakar during the biennale is a playground. Days are spent exploring the official exhibitions and countless "Off" venues, each offering a unique perspective. You can delve into thought-provoking colloquiums with leading academics and artists, or attend workshops that fuse traditional African crafts with new technologies. Educational collaborations with institutions like the National School of Arts and various universities underscore the biennale's commitment to nurturing young talent and expanding artistic discourse. Mediation workshops and a "Connected Village" at the erstwhile Palais de Justice offer opportunities for public engagement, including free Wi-Fi, relaxation areas, and diverse musical programming.

Dakar After Dark: Where the Art of Living Thrives

As the sun dips below the horizon, painting the Atlantic sky in hues of orange and purple, Dakar's legendary nightlife awakens. The "teranga" – the Wolof word for hospitality – is in full swing. Upscale hotels like the Pullman Dakar Teranga and Noom Hotel Dakar Sea Plaza offer chic rooftop bars with panoramic ocean views, perfect for sunset cocktails and people-watching.

But for a truly authentic experience, venture into the city's vibrant neighborhoods, particularly Les Almadies. This is where the pulse of Dakar's party scene truly beats. Clubs and bars line the streets, thumping with the infectious rhythms of Mbalax, Afrobeat, and global electronic dance music. ElectrAfrique, for example, often hosts pop-ups and club nights during the biennale, featuring renowned DJs and lively discussions on topics like cultural appropriation in music. Imagine dancing until dawn, surrounded by a diverse crowd of art enthusiasts, locals, and international revelers, all united by the universal language of music and shared joy.

When hunger strikes, Dakar offers a culinary journey. From the freshest seafood at beachfront eateries to traditional Senegalese dishes like thiéboudienne (fish and rice) at places like Chez Loutcha, your taste buds are in for a treat. Hotels like Ibis Styles Dakar and Hotel Jardin Savana Dakar provide comfortable stays, while the more luxurious Hotel Terrou-Bi offers an oasis of calm with its large outdoor heated pool overlooking the lagoon.

Beyond the biennale, Dakar beckons with a wealth of cultural experiences. Visit the historical Gorée Island, a UNESCO World Heritage site with its poignant House of Slaves. Explore the vibrant markets like Kermel or Sandaga for local crafts and textiles. Marvel at the imposing African Renaissance Monument or take a day trip to the surreal Pink Lake, Lake Retba, where you can witness salt harvesting and even float in its saline waters.

The Dakar Biennale is more than an art event; it's an immersive cultural odyssey. It's where serious art meets joyous celebration, where intellectual discussions flow seamlessly into late-night dancing, and where the spirit of Africa captivates and transforms every visitor.

Video: Dakar Nightlife Experience | Watch on YouTube