Sitor Senghor : “People need to buy and come back” towards a bolder and more ambitious AKAA
AKAA 2025 celebrates its 10th edition at the Carreau du Temple, reaffirming its central role in Paris’s African contemporary art scene. Under the artistic direction of Sitor Senghor for the first time, the fair aims at injecting newness, expand its network of collectors, and assert an identity that is both cultural and economic. A gallerist and former investment banker, Sitor Senghor approaches the fair’s financial stakes with a level of insight and transparency rarely seen in the French-speaking art market. Ten years after its creation by Victoria Mann, AKAA continues to evolve without betraying its roots, reinventing the dialogue between artistic narrative and market dynamics. Will collectors follow?
Sitor SENGHOR, Art Director of AKAA Art & Design Fair, All rights reserved
A key event of Paris Art Week, AKAA now finds itself at crossroads between a desire for renewal and a drive for commercial consolidation. In this exclusive interview, Sitor Senghor, AKAA’s Art Director, unveils the fair’s new chapter through a candid, ambitious, and clear-sighted conversation.
Between Continuity and Renewal
Ngalula MAFWATA, MAYI ARTS : This anniversary edition of AKAA Art and Design Fair feels like the beginning of a new chapter. What is the vision or direction you wish to give it ?
Sitor SENGHOR, AKAA : It is indeed a new chapter. We are building on continuity, but moving up a gear. I want to see the return or arrival of major collectors along with people from the diaspora who have the means to buy and I want them to feel confident. We have designed curated spaces to show that it is possible: works from galleries such as Nathalie Obadia and André Magnin, featuring established artists who should be presented at Art Basel but often aren’t given the opportunity. There are some truly remarkable works : Seyni Camara, Ousmane Sow, monumental and powerful pieces that show artists from the continent are far from being some epiphenomenon.
We have done in-depth work with collectors, institutions, and the personalities we have invited. We cannot guarantee sales, but we can create the right conditions for them to happen. Whether we like it or not, contemporary art remains a niche that concerns about 5% of the population. Visiting the fair as a spectator is great, but we are not a museum. I’m thrilled to see a large audience, but I also want people to buy — and to come back.
Ngalula MAFWATA : AKAA is often seen as an accessible fair. How do you reconcile its openness with this commercial ambition?
Sitor SENGHOR : That’s one of our biggest challenges. AKAA is a victim of its own success. It’s a challenge to stay open and accessible, but we must remain attentive to those who come to buy, otherwise, it serves no purpose. The fair isn’t excessively expensive for galleries, which is a real advantage in today’s context. Our role is to ensure it remains a commercial success for everyone involved.
“J’apporte peu de choses mais des choses qui sont essentielles. AKAA a toujours présenté de très bons artistes mais pas toujours dans les meilleures conditions. Ma touche, c’est d’ajouter cette dimension marché. ”
AKAA 2023 © BDVA
Ngalula MAFWATA: Your background is particularly interesting — you’re known as a gallerist with deep market knowledge, but you also have an extensive career in investment banking. What does this dual expertise allow you to bring to AKAA?
Sitor SENGHOR: I bring on only a few things, but they’re essential. AKAA has always showcased excellent artists, but not always under the best conditions. My contribution is to add that market dimension. The French are beginning to understand that the market matters — especially in times of contraction. There are far too many artists and galleries, and the market is currently undergoing a necessary cleanup. This affects the art market as a whole, and it’s a good thing.
What will remain in the end?
In African contemporary art, we’re returning to the foundations of creation and material — real painting, as well as sculpture and weaving. Ceramics, too, is being rediscovered as an exceptional art form that was long overlooked. This return to materiality will allow African artists to follow their own impulses rather than trends — to avoid producing pseudo-Basquiats or pseudo-El Anatsuis. There are schools, yes, but each artist must preserve their own identity. It’s that authenticity that will make their strength.
Ngalula MAFWATA: You form a trio with Victoria MANN and Benjamin HÉLION. How is this collaboration going?
Sitor SENGHOR: Very well. Victoria has an exceptional eye for African art. She has been criticized for her origins, but no one has done what she has done, nor can anyone deny her vision and contribution over the past ten years. Those who criticized her should have simply done it themselves. She’s full of energy for this new edition and has opened my eyes to many things. Benjamin brings a strong perspective on production, along with a deep personal history connected to art.
As for me, this is a challenge I’ve set for myself. My family roots drive me to defend artists from the continent — it’s a way for me to reconnect with my Senegalese heritage. I’m proud of the name I carry, associated with art; it’s a legacy that deserves to be honored.
Credits : Seyni Awa Camara © Courtesy Galerie ADAM ; King Houndekpinkou © Courtesy Galerie Vallois ; Obi Okigbo © Courtesy Obi Okigbo, Windsor Gallery
Ngalula MAFWATA: This year, the selection committee — Mamadou ABOU SARR, Eve THEROND, and Andy Amadi OKOROAFOR — also brings an international dimension. Could you tell us more about the criteria that guided the selection of participating galleries and artists?
Sitor SENGHOR: Quality and rigor were at the core. We tried to be original and avoid showing works that had already been seen in previous editions or at other fairs just a few weeks apart — no approximate hanging either. Mamadou Abou-Sarr and Eve Therond, both very active on the market, have seen trends come and go, and frankly, we’ve all grown tired of trends. We wanted timeless and original works, even if financial realities mean we can’t say no to everyone [laughs]. We did, however, turn down some galleries and artists who weren’t up to the standard we wanted to achieve. Our goal is to look toward the next ten years by building genuinely structured programs. This is just the beginning — you can’t change everything in six months.
We continue to showcase emerging artists, but with a new sense of rigor — a sign of genuine professionalism that wasn’t as present before. My experience as a gallerist helps me a great deal. Having exhibited ten times at 1-54 in London, New York, and Marrakech, I know exactly what a gallery expects from a fair. My role doesn’t stop at artistic direction: I want galleries to sell, to be happy, and to come back next year — bringing along other galleries that may have been hesitant this time.
“Having exhibited ten times at 1-54 in London, New York, and Marrakech, I know exactly what a gallery expects from a fair. My role doesn’t stop at artistic direction: I want galleries to sell, to be happy, and to come back next year — bringing along other galleries that may have been hesitant this time.”
Paris, Capital of Art: A Shifting Market and Cautious Patronage
Ngalula MAFWATA : You emphasize the commercial aspect of the fair, yet France seems to approach art through a more cultural lens.
Sitor SENGHOR: In France, culture is for everyone, it’s part of education. That’s a beautiful thing. But this tradition of subsidising artists has its limits. Artists must be able to establish themselves on their own, or through their collectors. It’s not the State’s job to do everything. The art market in France remains very French. The French collector constantly needs reassurance. The artist must have already been recognized by the Pompidou, the Palais de Tokyo, or have sold abroad — only then do they buy, and usually at a higher price. It’s not a question of means, but of risk aversion. I’ve seen collectors come back ten times to look at a mask… at some point, enough is enough!
“It’s not a question of means, but of risk aversion. I’ve seen collectors come back ten times to look at a mask… at some point, enough is enough!”
Ngalula MAFWATA : There’s also a certain discretion around the market, especially when it comes to pricing. Have you noticed any evolution in this culture?
Sitor SENGHOR : Things are beginning to change, particularly with the arrival of Art Basel in Paris. It has attracted a number of serious Anglo-Saxon collectors. It was the first time I saw collectors openly discussing prices. In France, we tend to hide them — as if talking about money somehow desecrates the artwork — when in fact, everything has a price. When I exhibited in London or New York, I always displayed prices on the labels. That transparency is essential: it saves everyone time, especially at a fair, where everything moves fast. If someone sees the price and is still interested, the conversation becomes direct and productive.
This risk aversion also reflects a certain French mindset. My background in banking taught me to observe this. In English, we say venture capital, a term centered on opportunity and growth. In French, it’s capital risque — literally “risk capital” — which already reveals a more cautious vision, one that sees the potential loss before the gain. There’s a constant need for reassurance before daring to act.
Credits : Nú Barreto Dépitée © Courtesy Galerie Nathalie Obadia ; Catheris Mandombo, Regard vers le passé‚ ©PCP Photographie; Jules Be Kuti ©Jules Be Kuti Courtesy The Norm; Kim Dacres, Patra, You must build a big house over Dovecot, 2025, Galerie Zidoun Bossuyt
Ngalula MAFWATA : In your view, how is the market doing today?
Sitor SENGHOR : It’s a complicated period. Looking at the numbers, we can see that giants like Hauser & Wirth and David Zwirner have seen their revenues drop by 90% — that’s huge! As for African Art, Sotheby’s and Piasa have shut down their specialized departments, while Christie’s never considered the niche mature enough. And that’s precisely where AKAA can stand out. We remain accessible in certain segments. The money is still there — collectors who’ve been holding back now want to indulge themselves. We need to show them works that are beautiful, original, and meaningful. The key is not to lean too far into conceptualism — something that, in my opinion, has led the West astray.
The great strength of artists from the continent is that they create beauty. Beauty evokes emotion, a unique vibration that allows us to recognize it instantly. People keep saying beauty is subjective, but that’s false — something deeply tangible happens within us when we face a truly beautiful work of art. And that’s something I deeply believe in.
“The great strength of artists from the continent is that they create beauty. Beauty evokes emotion, a unique vibration that allows us to recognize it instantly. People keep saying beauty is subjective, but that’s false”
Ngalula MAFWATA : We’re witnessing a revival of Paris’s art scene lately, what is your take on that?
Sitor SENGHOR : Paris has always had everything it needs. It remains one of Europe’s most beautiful cities — people love coming here. Events like the Olympic Games and the restoration of Notre-Dame have given us extraordinary images that rekindled people’s desire to visit. Art Basel has done an incredible job of selling an exceptional artistic experience in Paris. They approach the fair through the lens of collectors who spend the week here, and that benefits all the satellite fairs happening around the same time. We are not comparing ourselves to a giant like Art Basel, but we’re definitely benefiting from its halo effect. The center of art in Europe has shifted to Paris — that is undeniable today. It may worry other cities like London and Basel.
Ngalula MAFWATA : What challenges does AKAA still face in its organization?
Sitor SENGHOR : We continue to face the same challenges as other fairs when it comes to bringing in artists and galleries from the continent. Administrative hurdles — especially visa procedures — remain a major obstacle, despite our efforts and actions with the French Ministry of Foreign Affairs and the Ministry of Culture. It’s incomprehensible: we talk about the Francophonie and cultural influence, yet those who genuinely want to contribute are denied entry. We’re not the only ones affected — MenArt (founded by Laure d’Hauteville) faces the same issue with artists from the Middle East.
It’s not as if these galleries want to relocate to France — they’re perfectly established at home — they simply want to present their artists here. And yet, to this day, the system still blocks them.
AKAA
Ngalula MAFWATA : Perhaps this is where a stronger culture of patronage could help move things forward.
Sitor SENGHOR : In France, the highly visible big patrons — often tied to major corporations — can be intimidating, and not everyone wants to be publicly associated with them. But we need to move past that. Also, many of the wealthiest collectors who could make a difference prefer to stay discreet, fearing taxation — let’s be honest. As a matter of fact, the main sponsor of Paris Noir at the Centre Pompidou was the Ford Foundation, which is quite astonishing and says a lot about France’s level of engagement with our artistic community. There is a job to be done. We need to go where the money is, and we’ll be working to identify the right partners.
Ngalula MAFWATA : What about patronage in Africa?
Sitor SENGHOR : It is important to highlight that Nigerians played an incremental role in the growth of the African contemporary art market. They were the first to support their artists, to establish their market value by buying their work — and this has benefited the whole continent. Anglophones have a sense of the market that Francophones don’t. The Francophone world remains confined to the cultural, not the commercial.
New Generations of Collectors
Ngalula MAFWATA : There’s also a new wave of collectors, or even patrons in the making — who haven’t yet entered the scene due to a lack of information and exposure, even though they clearly have the means to collect.
Sitor SENGHOR : Absolutely. People often say there aren’t enough collectors on the continent, which is completely false. They buy, but often spontaneously, directly from artists. It’s a question of initiation. Many young people who acquire wealth quickly buy what they’re told to buy, and their advisors aren’t always the most knowledgeable. These are collectors who initially turned to safe Western names as their resources grew. Now that African art is recognized in the West, those same collectors are turning back to their own artists. Perhaps this external recognition was necessary for that shift to happen.
This year, we’re also making an effort to bring in collectors we’ve often overlooked — athletes and public figures, for example. However, we shouldn’t focus solely on these major collectors. There’s also a rising segment within the diaspora with the means to invest — but they often don’t, simply because they lack initiation and access.
People often say there aren’t enough collectors on the continent, which is completely false. They buy, but often spontaneously, directly from artists. It’s a question of initiation.
Ngalula MAFWATA : Collectors can indeed be cautious. In your view, how can we make the market sustainable so that the artists being collected today still hold stature in the years to come and continue to attract collectors?
Sitor SENGHOR : Galleries must be more demanding with their artists — willing to say when a work is good, but also when it isn’t. Some artists go through weaker periods, and we need to acknowledge that. We can’t afford to sell just anything. The market is undergoing a cleansing — from auctions to exhibitions — and only the best will remain, which is a good thing.
The growing number of institutional exhibitions — Kings and Queens of Africa at the Louvre Abu Dhabi, Otobong Nkanga at the MAM, or the MET’s commitments to African art — all of this strengthens collector confidence.
Ngalula MAFWATA : Does this change the way we perceive African contemporary art?
Sitor SENGHOR : Absolutely. Between a Moroccan, an Ethiopian, and a South African artist, there’s little in common — except for the beauty of the works. We don’t talk about “European contemporary art.” The term “African art” was adopted as a form of positive discrimination, to make room for artists who weren’t included in major global events. It was necessary, but ultimately, I hope this distinction will fade away.
Credits : M’Barek Bouhchichi © Courtesy Galerie Dagoma-Harty ; Freya Bramble-Carter - Courtesy 50 GOLBORNE; M’Barek Bouhchichi, Suzanne Roussi Césaire 2025 ; Obi Okigbo © Courtesy Obi Okigbo, Windsor Gallery; Robert Manscour © Robert Charlotte, Courtesy La Maison Gaston
Ngalula MAFWATA : What’s the horizon for AKAA in the coming years ?
Sitor SENGHOR : Next year, we already have several new developments in the works. I want to continue curating part of the fair around thematic exhibitions. I’d like each edition to reveal a new facet of creation. I regret the absence of galleries from the Caribbean, for example. There’s a certain enthusiasm around the fair, but many are waiting to see what we do this year before committing. Hopefully soon we’ll have the luxury of being more selective — while still supporting emerging talent and, why not, even inviting a few independent artists through specific projects.
Ngalula MAFWATA : AKAA 2025’s vision in two words ?
Sitor SENGHOR : Challenge and beauty. We’ll continue to take risks — ourselves and the galleries — while cultivating beauty.
AKAA Art & Design Fair 2025, October 24–26, 2025, at the Carreau du Temple. More information available on the official website.
