From Art Basel to AKAA 2025, Africa shines through the Art weeks : Between Maturity and Emerging Challenges

Between London and Paris, the African presence once again asserted itself during the October 2025 Art Weeks. From the aisles of Frieze London and Art Basel Paris to the corridors of AKAA, and through to Nigerian Modernism, the landmark exhibition at Tate Modern, narratives emerging from the continent unfolded with assurance. Artists, curators, and institutions alike demonstrated a renewed maturity and a dynamic sense of momentum within the market. What follows is a reflection on the key moments that shaped this season.

Nu Barreto, AKAA, Crédits : MAYI ARTS

In London and Paris, Frieze and Art Basel highlighted the presence of established African artists alongside the new vanguard.

In London, Frieze presented one of its most international editions to date, as highlighted by Eva Langret, Director of Frieze EMEA:

"Frieze London, like the city itself, brings together the most exciting artistic minds of the moment — a true snapshot of what the global art world is thinking and producing today. This year’s edition is more international than ever, with new galleries from Tunisia, Japan, and Brazil, reflecting the ever-expanding scope of the art world."

On this note, a section dedicated to the relationships between Africa and other regions of the world — Echoes in the Present, curated by Dr. Jareh Das — highlighted this perspective through a selection of artists from the new vanguard. For its first participation in the fair, Tafeta (Ayo Adeyinka) presented an impressive solo by Bunmi Agusto, weaving ancestral memory with key — yet often overlooked — historical junctures connecting Nigeria and Brazil.

The presence of Franco-Beninese artist Mélinda Fourn and Franco-Guadeloupean-Congolese artist Naomi Lulendo, both represented by Selebe Yoon, also stood out among the notable booths. Alongside the transgressive madonna of Zanele Muholi, the healing frescoes of Manyaku Muholi, and the regal velvet portrait by Roméo Mivekannin (Southern Guild), their works drew particular attention.

At Art Basel, the empirical vanguards Seyni Awa Camara, Chéri Samba, and Abdoulaye Konaté are shown alongside a rising generation — Alioune Diagne, Omar Ba, JP Mika, Ana Silva, among others — represented by well-established Parisian galleries now firmly anchored on the international scene, introducing and building brigdes.

1-54: A Focused and Intentional Edition

Now an institution, 1-54 London stood out this year with a more focused edition compared to the previous year, emphasising intentionality, particularly through special projects and the selected works. Two trends were clearly visible at the fair: on one hand, curated and refined spaces such as Oh Gallery, Afikaris, and 1897, highlighting the fair’s increasing sophistication and its commitment to a coherent and demanding artistic line. On the other hand, raw and dynamic approaches were presented by galleries including Tern Gallery and Kub’Art Gallery.

Among the special projects, Léonard Pongo’s in-situ installation, Mbanza Tapestry, part of the Primordial Earth project (Project Loop), particularly stood out. This intentional edition confirmed the maturity of the African scene: between established artists and new independent galleries, one could observe meticulous curation, professional rigor, and a collective ambition — to the delight of collectors.

Modernism in Nigeria : Inscribing History into the Canon

This same month of October, Tate Mordern opened Modernism in Nigeria, an exceptional tribute to the pioneers of Nigerian modernism. Curated by Osei Bonsu, the exhibition embraces a national history long overlooked: a country that, in the 20th century, forged a strong identity both before and after its independence in 1960, beyond tribal conflicts.

The exhibition gathers works from around the world, some from private collections, presented publicly for the first time. Akinola Lasekan depicts historical myths and traditions, while Ben Enwonwu is celebrated with an exhibition within the exhibition. The ceramicist Ladi Kwali is also honoured . The journey concludes at the end of the 1980s, a period marked by a bold modernism in dialogue with the international aesthetic of the time, reminiscent of Uzo Egonu’s work.

A monumental exhibition that repositions Nigeria within the global modernist timeline and, in doing so, contributes to a stronger recognition of contemporary Nigerian art on the international stage.
(Exhibition open until June 2026.)

The Elembo Ya Sika Prize: A New Era for the Young Congolese Scene

During the same week, Mayi Arts had the honor of attending the launch of the Elembo Ya Sika Prize at King’s College of London conceived jointly by the Defise Foundation and Africell. This award, exclusively dedicated to emerging artists based in Kinshasa, provides a scholarship, material support and a one-year mentorship with the artist Eddy Kamuanga Ilunga. Applications are open until November 23 — a promising initiative to structure and professionalize the Congolese art scene.

AKAA: Between Renewal and Artistic Assertion

For its tenth edition, AKAA – Also Known As Africa faced a dual challenge: to renew itself and strengthen its economic foundation, as highlighted by its new artistic director Sitor Senghor.

This edition showcased a transgenerational contemporary scene, marked by a deliberate return to beauty, large-scale works, and rich materials — including mixed media, sculptures, and installations. AKAA also demonstrated a commitment to expanding artistic narratives and visual expectations, with exhibitors from diverse backgrounds. Three women particularly stood out: Gladys Gambie (Ettore e Ines Fico Prize 2025, Maison Gaston), Jennia Fredrique Aponte for her unexpected — and almost sold-out — exhibition (Art Melanated), and Julie Mvie, presenting a residency project focused on society’s invisible members (IF Gabon).

Despite a cautious economic context — with the African art market representing only 5% of the global market — notable sales suggest that the pursuit of beauty remains central. Successful sales of works by M’bareck Bouhchichi (Dagoma-Harty), Amani Bodo (Primo Gallery), and Gavin Goodman (Filafriques) exemplify this trend.

More than a fair, AKAA 2025 offered a renewed perspective: an Africa that is plural, confident, and aware of its place in the global history of art.

Between structuring and maturation, African arts are in a transitional phase — no longer merely about being shown, but about firmly establishing themselves in history and sustainably positioning within the market.