{"id":3964,"date":"2026-05-22T18:34:43","date_gmt":"2026-05-22T15:34:43","guid":{"rendered":"https:\/\/bricsmagazine.com\/en\/?p=3964"},"modified":"2026-05-22T18:34:44","modified_gmt":"2026-05-22T15:34:44","slug":"out-of-africa","status":"publish","type":"post","link":"https:\/\/bricsmagazine.com\/en\/soft-power\/out-of-africa\/","title":{"rendered":"Out of Africa"},"content":{"rendered":"\n

Africa is present on today\u2019s global art scene in two capacities. First, as tribal art or ethnographic, traditional art, which includes a\u00a0wide variety of artistic practices of the continent\u2019s peoples. Tribal art objects appeared in Europe with the first colonial seizures, and their return from Western museums to their homeland is a\u00a0major issue of debate on the world museum agenda. Second, Africa also means, of course, contemporary art. Contemporary African art began to enter the global art content in the late 1980s and early 1990s, and the growing interest in it today is one trend in the art industry.<\/p>\n\n\n

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A mask depicting Iyoba Idia, the Queen Mother and advisor to the Oba (King) Esigie, one of the great rulers of 16th-century Benin. Worn as a pendant by the King of Benin during ceremonial festivities.
\u00a9 The Metropolitan Museum of Art<\/figcaption><\/figure><\/div>\n\n
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Akua\u2019ba wooden ritual doll of the Fante and Ashanti peoples (Ghana and part of Liberia), symbolizing fertility and fecundity, 20th\u00a0century.
\u00a9 Brooklyn Museum<\/figcaption><\/figure><\/div>\n\n\n

The African Roots of Les Demoiselles d\u2019Avignon<\/h2>\n\n\n\n

According to written records, in 1580, Charles the Bold, Duke of Burgundy, acquired an African idol figurine from a\u00a0Portuguese merchant. The Portuguese, avid travellers, having reached the Congolese shores at the end of the 15th century, began exploring these lands, sending home local curiosities carved from ivory and ebony, ritual masks, or fetishes for invoking rain or appeasing evil spirits. Catholic missionary priests also excelled in this trade, shipping sacred creative works of African tribes to Europe in commercial quantities. It is no coincidence that the Vatican Museums now hold the oldest and most diverse collection of traditional African art.<\/p>\n\n\n

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Les Demoiselles d\u2019Avignon by Pablo Picasso, 1907.
\u00a9 Le mus\u00e9e du quai Branly<\/figcaption><\/figure><\/div>\n\n\n

Africa\u2019s archaic art played a\u00a0crucial role in the new European visuality. After studying primitive ancient sculptural forms at an exhibition at the Mus\u00e9e du Trocad\u00e9ro in Paris in 1907, Pablo Picasso changed his own creative method. The wooden idols, statuettes, masks, their crude simplicity and extraordinary power inspired him to create the sensational painting Les Demoiselles d\u2019Avignon and subsequently led to the emergence of analytical Cubism. The features of African masks are easy to find in the works of the great Spaniard, where deliberate deformation leaves no doubt about the source of his inspiration: Portrait of Max Jacob, Bust of a\u00a0Woman, Mother and Child, Three Women.<\/p>\n\n\n\n

Such subverters of convention as Georges Braque, Andr\u00e9 Derain, Maurice de Vlaminck, Amedeo Modigliani, and Henri Matisse drew inspiration from the crude forms of Congolese figurines, ritual masks from the Ivory Coast and Benin. Gauguin, in fact, exchanged the civilized world for distant islands. Henri Matisse also introduced his Russian \u201cpatron\u201d Sergei Shchukin to this passion. The industrialist and collector travelled to Egypt, acquired African sculptures at the Cairo Museum, and brought them to his Moscow home, already adorned with Matisse\u2019s \u201cbarbaric\u201d, in the opinion of his contemporaries, panels Dance and Music.<\/p>\n\n\n

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Exhibition view from Picasso Primitif at the Mus\u00e9e du Quai Branly in Paris, 2017.
\u00a9 Le mus\u00e9e du quai Branly<\/figcaption><\/figure><\/div>\n\n\n

Curiously, in 1919, on the initiative of Vladimir Mayakovsky, a\u00a0book entitled The Art of the Negroes, designed by Nathan Altman, was published. The author, artist, and art theorist Woldemar Matvejs (writing under the pseudonym Vladimir Markov) analyzed the structural features of African sculpture in five sections. Markov advocated acquiring African sculpture, arguing that, in both painting and sculpture, perception of reality had changed precisely under the influence of the art of the Black Continent: \u201cThe new generation of artists thanks Africa for helping them escape from European stagnation and deadlock\u201d.<\/p>\n\n\n\n

In 2006, thanks to the efforts of then President of France Jacques Chirac, the Mus\u00e9e du Quai Branly opened in Paris, with a\u00a0unique collection of traditional art from Africa, Asia, Oceania, and the Americas. Today, it is one of the world\u2019s largest and most influential institutions working with tribal art. In 2021, the museum tellingly indicated its position regarding restitution of colonial art: at the request of France\u2019s current President Emmanuel Macron, it transferred to Benin 26 of the most valuable objects from its collection, which had been taken from the ancient African Kingdom of Dahomey during the colonial war of 1892.<\/p>\n\n\n

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The Wall of Andr\u00e9 Breton\u2019s Studio (1922\u20131966) at the Centre Pompidou is filled with objects of tribal art.
\u00a9 \u0421entre Pompidou pour le Mur<\/figcaption><\/figure><\/div>\n\n\n

Today, tribal works of art are highly sought after by collectors. Once occupying a\u00a0very modest position among sales by leading auctions, never approaching the price levels of European art, tribal art has sharply increased in value over the last couple of decades. The market is seeing record sales with seven zeros. For example, a\u00a0Congolese Luba tribe caryatid was sold for EUR 5,440,750. A\u00a035 cm tall mask from the Congo was auctioned for USD 2,546,500 and a\u00a0Malian zigzag stele, also a\u00a0Bomana dance crest, 67.5 cm in height, was sold for USD 2,658,500.<\/p>\n\n\n\n

African Treasures in Russia<\/h2>\n\n\n\n

Surprisingly, Russia has amassed very respectable collections of traditional African art. First and foremost, the V.\u202fD.\u202fPolenov State Memorial Historical, Art, and Natural Museum\u2013Reserve can boasts such a\u00a0collection, and it frequently displays its rarest treasures at various exhibitions. They were originally collected by Eddie Novarro, a\u00a0renowned master of portrait photography, who captured images of Marc Chagall, Pablo Picasso, Salvador Dal\u00ed, Max Ernst, Ren\u00e9 Magritte, Elizabeth Taylor, Eva Per\u00f3n, the Dalai Lama, Andy Warhol, and others, and who was a\u00a0passionate traveller. In the 1950s, he went on trips to countries in Central and West Africa, bringing back sculptures, tribal masks, and household items from the first half of the 20th century and gradually forming a\u00a0substantial collection. By chance, all of this ended up in Russia, at the Polenov Museum.<\/p>\n\n\n

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Mukenga helmet mask of the Kuba people, Democratic Republic of the Congo, 20th\u00a0century.
\u00a9 \u041c\u0443\u0437\u0435\u0439 \u041c\u0424\u042e\u0410-\u041c\u0410\u0421\u0418<\/figcaption><\/figure><\/div>\n\n\n

In the autumn of 2025, the Museum of African Art opened at the Moscow University of Finance and Law, in a\u00a0new academic building near Krasnye Vorota. Its two halls feature a\u00a0rich exhibition called Depicting the Invisible, composed of traditional pieces of art from more than ten African countries: Mali, Guinea, Sierra Leone, C\u00f4te d\u2019Ivoire, Benin, Nigeria, the Democratic Republic of the Congo, and Angola, including ritual masks, statuettes, household items, and ritual statues covered with the so-called ritual crust \u2013 traces of sacrifices.<\/p>\n\n\n

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Exhibition view of the Museum of African Art at MGIMO University in Moscow.
\u00a9 \u041c\u0443\u0437\u0435\u0439 \u041c\u0424\u042e\u0410-\u041c\u0410\u0421\u0418<\/figcaption><\/figure><\/div>\n\n\n

In December 2025, on Vesnin Brothers Boulevard in Moscow, a\u00a0new private museum called ZILART opened, with an entire floor devoted to tribal art. The museum currently has a\u00a0collection of 1,000 African objects d\u2019art previously owned by Leningrad sculptor Mikhail Zvyagin and his son Leonid. Their remarkable collection was exhibited in 2011 at the Pushkin Museum. The Zvyagin collection is unique in contemporary Russia, unparalleled in its figurative authenticity and stylistic diversity. In the ZILART hall, all the traditions of the peoples and ethnic styles of West and Equatorial Africa are widely represented: Bambara (Mali), Mossi, Bwa (Burkina Faso), Baga (Guinea), Senufo, Baule (C\u00f4te d\u2019Ivoire), Grebo (Liberia), the aforementioned Yoruba (Nigeria), Bamileke (Cameroon), Fang (Gabon), Songye, Luba and Chokwe (Congo and the Democratic Republic of the Congo). The exhibition is thematically divided into 11 sections \u201cpopulated\u201d by archetypal motifs and dedicated, among other things, to family and clan symbols, images of motherhood, standards of male and female beauty, attributes of leaders and priests, warrior and hunter regalia, anthropomorphism, luxury items, masks, earth and water spirit sculptures, idols and fetishes, and funerary rites. One can see astonishingly exotic bronze altar heads of rulers of the Yoruba state of Ile-\u00adIfe, which flourished on the territory of modern Nigeria from the 12th to the 15th century. Fabrics handwoven using traditional African techniques serve as a\u00a0harmonious complement to the sculpture and masks in the exhibition. For example, basi-lan and gala-fin\u00e9 blankets from Mali, sewn from woven strips and dyed with special pigments, and Kuba people\u2019s mats woven from fibres and covered with bright appliqu\u00e9s. There is also an antelope or ram mask (ekuk) for initiations among the Kwele people from Gabon, a\u00a0multi-\u00adfaced mask of the Lega people from the Congo, and the head of the mother of an iyoba ruler from Benin. It is logical to recall Vladimir Markov here and once again cite his words: \u201cThe art of Africans possesses a\u00a0truly inexhaustible richness of plastic symbols: nowhere are there real forms, the forms are completely arbitrary, they serve real interests, but with a\u00a0plastic language\u201d.<\/p>\n\n\n

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The African Art: Gods, Ancestors, Life exhibition at ZILART in Moscow can be visited until 17 January 2027.
\u00a9 \u042e\u0440\u0438\u0439 \u041f\u0430\u043b\u044c\u043c\u0438\u043d \/ \u041c\u0443\u0437\u0435\u0439 \u00ab\u0417\u0418\u041b\u0410\u0420\u0422\u00bb<\/figcaption><\/figure><\/div>\n\n\n

Contemporary Centres of African Influence<\/h2>\n\n\n\n

The most important event for the development of contemporary art on the African continent was the 1989 exhibition Magiciens de la Terre (Magicians of the Earth), curated by Jean-\u00adHubert Martin, at the Centre Pompidou in Paris. A\u00a0hundred artists from around the world were invited to participate, including ones from Africa. This was their first major exhibition outside the continent and, as a\u00a0result, the visual arts in the region underwent a\u00a0major evolution. In fact, under the influence of the exhibition, art publications emerged in Africa, a\u00a0curatorial institution was set up and art criticism emerged.<\/p>\n\n\n

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Olamilekan Abatan, Bacchus, 2021.
\u00a9 Fondation Gandur pour l\u2019Art<\/figcaption><\/figure><\/div>\n\n\n

Contemporary African art is already quite prominently represented on the global art scene. A\u00a0few years ago, sales volumes reached USD 40 million. Sotheby\u2019s auction house holds sales of this type of art twice a\u00a0year. In 2023, for example, the work Walkers With the Dawn and the Day by Julie Mehretu, an American of Ethiopian origin, sold for USD 10.7 million, setting a\u00a0Sotheby\u2019s record for contemporary African artists.<\/p>\n\n\n

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Ayanda Mabulu, Nontsundu, 2018.
\u00a9 Artcurial<\/figcaption><\/figure><\/div>\n\n\n

Entire museums around the world are now dedicated to contemporary African art. One is the Zeitz MOCAA (Museum of Contemporary Art Africa) on the V&A Waterfront in Cape Town, the building having been converted from a\u00a0grain silo by architect Thomas Heatherwick. The collection of the museum\u2019s founder, Jochen Zeitz, includes works by renowned Africans such as Chris Ofili, Kudzanai Chiurai, Kehinde Wiley, Glenn Ligon, Marlene Dumas, and Wangechi Mutu, plus the aforementioned Julie Mehretu.<\/p>\n\n\n

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Sculptures by artist Prune Nourry, inspired by ancient terracotta heads from the Nigerian city of Ife and dedicated to the victims of Boko Haram.
\u00a9 MACAAL<\/figcaption><\/figure><\/div>\n\n\n

The African Centre in Harlem, New York, is a\u00a0cultural and educational organization that promotes contemporary African art. This institution dates back to 1984 when it opened as the Museum for African Art, which realized more than 60 exhibition projects.<\/p>\n\n\n

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Museum of Contemporary African Art Al Maaden in\u00a0Marrakech.
\u00a9 MACAAL<\/figcaption><\/figure><\/div>\n\n\n

The independent Museum of Contemporary African Art Al Maaden (MACAAL), located in Marrakech, Morocco, was set up in 2016. Its building, composed of simple and clear geometric forms, constitutes an example of contemporary regionalism. The museum expresses its decolonial position by giving a\u00a0voice to contemporary African artists. A\u00a0sculpture park surrounds the building. In 2007, the Centre for Contemporary Art was opened in Lagos, Nigeria, focusing on the work of artists from Nigeria and West Africa. Since 1989, the oldest festival dedicated exclusively to the development of the art scene on the African continent has been held in Dakar, Senegal \u2013 the Dak\u2019Art (Biennale de l\u2019Art Africain Contemporain). By the way, in the 1960s, Dakar saw the emergence of a\u00a0significant art movement, the Dakar School. Dak\u2019Art is undoubtedly a\u00a0key platform for dialogue between African artists and the global art market. In addition, African art is significantly promoted internationally by fairs such as 1:54 in New York and AKAA (Also Known As Africa) in Paris.<\/p>\n","protected":false},"excerpt":{"rendered":"

The turn towards global art we are witnessing today in the world art industry, the attention being paid to those who, for decades and even centuries, have been completely excluded from the artistic canon and context (first and foremost, women artists and artists of non-Western origin), would be impossible without Africa, with its unique imagery and vitality. It is undoubtedly already part of the contemporary visual picture of the world, given the tremendous influence that traditional African art has had on Western modernism. The creative explorations of contemporary artists born and living in Africa or connecting their identity with it are crucial today for decolonization of the global cultural field, for its greater diversity and multiculturalism, and for a new representation of the Global South as an active producer of visual innovations, ideas, and aesthetics. BRICS Business Magazine tells how African art entered the global artistic context, where it can be seen, and who the contemporary African artist is.<\/p>\n","protected":false},"author":2,"featured_media":3965,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[29,27],"tags":[1043],"country":[923,179],"authors":[],"class_list":["post-3964","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-art","category-soft-power","tag-1043","country-africa","country-russia"],"acf":[],"yoast_head":"\nOut of Africa - BRICS Business Magazine - EN<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/bricsmagazine.com\/en\/soft-power\/out-of-africa\/\" \/>\n<meta property=\"og:locale\" content=\"ru_RU\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Out of Africa - BRICS Business Magazine - EN\" \/>\n<meta property=\"og:description\" content=\"The turn towards global art we are witnessing today in the world art industry, the attention being paid to those who, for decades and even centuries, have been completely excluded from the artistic canon and context (first and foremost, women artists and artists of non-Western origin), would be impossible without Africa, with its unique imagery and vitality. It is undoubtedly already part of the contemporary visual picture of the world, given the tremendous influence that traditional African art has had on Western modernism. The creative explorations of contemporary artists born and living in Africa or connecting their identity with it are crucial today for decolonization of the global cultural field, for its greater diversity and multiculturalism, and for a new representation of the Global South as an active producer of visual innovations, ideas, and aesthetics. 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