AKAA - Also Known As Africa: Art & Design Fair

Carreau Du Temple, Paris, 21 - 23 October 2022 
Friday & Saturday - 12am to 8pm Sunday - 12am to 6pm https://akaafair.com/

AKAA - the primary art fair dedicated to artists from Africa and its diaspora in France - returns this year for its seventh edition between October 21 – 23. In this year's edition, 38 international art galleries will present a cutting edge selection of artists under the roof of the Carreau du Temple, in the heart of Paris. Over the years, AKAA has remained true to its original vision, an invitation to discover artists who claim a link in their practice to the African continent. A contemporary look at these artistic scenes that goes beyond geographical borders, open to dialogue, discovery, and wonder, without clichés or preconceptions.


THIS IS NOT A WHITE CUBE will be attending once again, presenting works by the artists Barbara Wildenboer, Bete Marques, and Pedro Pires.




Through this project, the gallery aims to generate a dialogue between countries with colonial and historical affinities, reflecting on the concept of decoloniality and seeking to promote a reflection on how contemporary African art has been affirming itself on a global scale. This statement has been verified by a disruptive discursive position produced in the context of a postcolonial debate that has remained, for decades, transversely marked by a certain blind Eurocentrism - a rooted theorization that stems from the processes of occupation and sharing of African territories by the colonizing peoples, who produced a unilateral reading of their influence on the cultural and artistic constitution of the colonized countries.


This project, developed and curated specifically for AAKA - Also Known As Africa Art & Design Fair 2022, reflects on the emergence of a critical vision of colonialism. In addition, it reflects on the importance that the African diaspora - materialized in the works of Barbara Wildenboer, Bete Marques, and Pedro Pires - and curatorial projects, research, and documental studies more broadly assume in the production of a renewed historical discourse of art in contemporary times.