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Arts & Communication Contemporary art from the Global South

a satellite art fair, while Investec, located in South Africa, in the cities where they are held. In addition, they promote
appears to embrace the Western model of the art fair. cultural exchange and dialogue between different regions
Despite both fairs showcasing contemporary African art, of the world. The success of these art fairs reflects the
the two models involve different dynamics around the growing interest in African art and the potential for the
same group of artists. African art market to continue growing and evolving in the

1-54, an international art fair that focuses on future. Art fairs have played a crucial role in the growth of
contemporary art from Africa and its diaspora, was the art market over the past two decades. As the art market
established in 2013. The fair initially launched in continues to evolve, it will be interesting to observe how art
Western countries before expanding to North Africa, fairs adapt and shape the future of the industry.
with its inaugural fair held in London in 2013, followed 3.2.3. Biennales
by New York in 2015, Morocco in 2018, and a pop-up
event in Paris in 2021 in collaboration with Christie’s. Since the establishment of the Venice Biennial in 1895,
1-54’s goal is to showcase a wide range of perspectives biennales have played a significant role in promoting artists
and features international galleries specializing in from a variety of countries and distancing themselves from
contemporary African art, as well as FORUM talks and the market, even while playing an instrumental role in
a Special Projects program . As a satellite art fair, 1-54’s it. They have become art hubs that bring together artists,
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London and New York editions run concurrently with curators, collectors, and art enthusiasts from different
Frieze, making it an auxiliary event that garners a great parts of the world. From our sample of fifty-one artists,
deal of media attention due to its smaller size and niche only half of them have participated in a biennale. This low
focus. In contrast, 1-54 Marrakech, launched in 2018, is participation rate could be explained by two main elements:
the featured event and does not coincide with other fairs. first, the brief period during which most of these artists
This marks a significant step forward for 1-54, as it not only have participated in the global art world, and second, the
became a stand-alone fair for the first time but was also pandemic, which prevented large events from taking place
located in Africa for the first time. The 1-54 experience in between 2020 and 2022. This external reason limited the
Marrakech elevated the profile of the art scene in the city participation of these stakeholders in biennales.
and heightened awareness and appreciation of the diverse Interestingly, only 14 out of the 36 African artists from
art produced in Africa. our list have ever participated in a biennale. Successful
The Investec Cape Town Art Fair, which began as a laid- emerging African artists have thus participated in fewer
back event for local audiences in 2013, has recently grown biennales than their peers from other regions of the world.
to become the largest art fair in Africa. In 2023, the event Notably, Amoako Boafo had not participated in a biennale
opened its doors to both local and international galleries, through 2022. As the value of creations by emerging
hosting 106 exhibitors, welcoming 25,000 visitors, and African artists has skyrocketed in a period of 2 years
accommodating 6,700 VIPs. This fair has provided an since the pandemic, this group of artists did not have the
opportunity to showcase Cape Town, its people, and their opportunity to be featured in a biennale before their work
creative achievements. This event provides a platform to was sold at auction houses. Since the pandemic prevented
showcase unique works by artists and galleries located any biennales from taking place in this short period of
in South Africa, on the continent, and around the world, time, these artists had to explore alternative avenues to
exposing them to new local and international audiences gain visibility and build their legitimacy. They rapidly
and buyers. As pointed out by the Art Newspaper, “major entered the market thanks to the support of art galleries,
museum exhibitions, auctions, and a new conference are art fairs, and, finally, auction houses. This counter-example
all testament to the impact the fair is having on the local art demonstrates that biennales were not necessary for this
ecosystem .” The example of Investec Cape Town Art Fair group of artists to achieve global success.
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demonstrates how it empowers its region, creates its own From our list of stakeholders, biennales are the
art market, and fosters synergy to attract a wide variety of more diversified in terms of location. Twenty biennales
stakeholders. exhibited the work of our sample of artists, and they were

African art fairs, such as 1-54 and the Investec Cape respectively located in Italy, South Korea, Sydney, Senegal,
Town Art Fair, have emerged as significant players in the France, Czech Republic, Germany, South Africa, India,
global art market, providing a platform for African artists Switzerland, Romania, Paraguay, Thailand, Bangladesh,
and galleries to showcase their work to a wider audience. Congo, Pakistan, UK, Brazil, Turkey, Russia, and Greece.
These events not only showcase contemporary African art This diversification of locations clearly demonstrates
but also contribute to raising the profile of local art scenes how the art world is now decentralized . Even though
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Volume 2 Issue 1 (2024) 13 https://doi.org/10.36922/ac.1608