Dak’Art 2018: A New Humanity and Other Exhibitions in Photos

With the overarching theme of “The Red Hour”, Dak’Art 2018 opened to the public on May 3 2018, across different venues in Dakar, Senegal. 

Curated by Simon Njami, the international exhibition titled “A New Humanity” with works by seventy-five artists are currently on view at the Ancien palais de Justice in Dakar.

Commissioned for other main expositions are guest curators Alya Sebti, Marisol Rodriguez, Marianne Hultman, Bonaventure Soh Bejeng Ndikung,  and Cosmin Costina. Their remarkable exhibitions are on view at Musée de I’IFAN (IFAN Museum of African Arts), Dakar.  

Dak’Art exhibitions are on view until June 2 2018. View some of the highlights below. 

Olanrewaju Tejuoso (Nigeria), Oldies and Goodies, 2018. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Olanrewaju Tejuoso (Nigeria), Oldies and Goodies, 2016-2018. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Amadou Kane Sy 'Kan-Si' (Senegal), Trace de pas du temps, photography, 2014. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Amadou Kane Sy ‘Kan-Si’ (Senegal), Trace de pas du temps, photography, 2014. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Cheikh N'Diaye (Senegal), Brise Soleil des Indépendances, xxx. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Cheikh N’Diaye (Senegal), Brise Soleil des Indépendances, 2018. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Nathalie Mba Bikoro(Gabon), Triumph of Seagulls, 2016. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Nathalie Mba Bikoro (Gabon), Triumph of Seagulls, 2016. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Ibrahim Ahmed (Egypt), Only Dreamers Leave, 2016 - 2017. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Ibrahim Ahmed (Egypt), Only Dreamers Leave, 2016 – 2017. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Frances Goodman (South Africa), Seething Red, 2017. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Frances Goodman (South Africa), Seething Red, 2017. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Teo Betin ( France-Uganda), 4th Floor Building/ Off White Series, 2017-2018. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Teo Betin ( France-Uganda), 4th Floor Building/ Off White Series, 2017-2018. Installation detail, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Teo Betin ( France-Uganda), 4th Floor Building/ Off White Series, 2017-2018. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Teo Betin ( France-Uganda), 4th Floor Building/ Off White Series, 2017-2018. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Paul Alden Mvoutoukoulou (Congo), Urgence, 2017. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Paul Alden Mvoutoukoulou (Congo), Urgence, 2017. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

David Damoison (France-Martinique), top left- bottom right: Ordre. St Laurent du Maroni, Monument pour l'Abolitionniste. Cayenne, La Jerusalem sur le Fleuve, Saamaka, 2015-2017. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
David Damoison (France-Martinique), top left- bottom right: Ordre. St Laurent du Maroni, Monument pour l’Abolitionniste. Cayenne, La Jerusalem sur le Fleuve, Saamaka, 2015-2017. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Ndidi Dike (Nigeria), In The Guise Of Resource Control: Mano Labour, 2017-2018. Installation detail, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Ndidi Dike (Nigeria), In The Guise Of Resource Control: Mano Labour, 2017-2018. Installation detail, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Ndidi Dike (Nigeria), In The Guise Of Resource Control: Mano Labour, 2017-2018. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Ndidi Dike (Nigeria), In The Guise Of Resource Control: Mano Labour, 2017-2018. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Laeila Adjovi (Benin-France), Malaïka Dotou Sankofa, photography series. Installation detail, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Laeila Adjovi (Benin-France), Malaïka Dotou Sankofa, photography series. Installation detail, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Laeila Adjovi (Benin-France), Malaïka Dotou Sankofa #4 #5, photography series. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Laeila Adjovi (Benin-France), Malaïka Dotou Sankofa #4 #5, photography series. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Magdi Mostafa (Eygpt), Transmission Loss, 2016. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Magdi Mostafa (Eygpt), Transmission Loss, 2016. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

Marcos Lora Read (Dominican Republic), La Casa Roja de Caronte, 2018. Installation view, Dak'Art Biennale 2018 "The Red Hour/A New Humanity" curated by Simon Njami. Photo credit: The Sole Adventurer.
Marcos Lora Read (Dominican Republic), La Casa Roja de Caronte, 2018. Installation view, Dak’Art Biennale 2018 “The Red Hour/A New Humanity” curated by Simon Njami. Photo credit: The Sole Adventurer.

The Constellations of Halim El Dabh by Lorenzo Sandoval. Installation detail, Dak'Art Biennale 2018 "Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh" curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.
The Constellations of Halim El Dabh by Lorenzo Sandoval. Installation detail, Dak’Art Biennale 2018 “Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh” curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.

Archival materials display on Halim El Dabh. Installation detail, Dak'Art Biennale 2018 "Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh" curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.
Archival materials display on Halim El Dabh. Installation detail, Dak’Art Biennale 2018 “Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh” curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.

Ibrahim Mahama, No Time for Caution, 1966. 2014-2018. Installation detail, Dak'Art Biennale 2018 "Canine Wisdom for the barking dog-the dog done gone: Exploring the Sonic Cosmologies of Halim El Dabh" curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.
Ibrahim Mahama, No Time for Caution, 1966. 2014-2018. Installation detail, Dak’Art Biennale 2018 “Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh” curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.

Satch Hoyt, Kush yard Totem, and Lorenzo Sandoval, Hammock Score No.1. Installation view, Dak'Art Biennale 2018 "Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh" curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.
Satch Hoyt, Kush yard Totem, and Lorenzo Sandoval, Hammock Score No.1. Installation view, Dak’Art Biennale 2018 “Canine Wisdom for the barking dog-the dog done gone deaf: Exploring the Sonic Cosmologies of Halim El Dabh” curated by Bonaventure Soh Bejeng Ndikung. Photo credit: The Sole Adventurer.

Hamedine Kane and Tejswini Sonawane, Salesman of Revolt, prints, 2018. Installation detail, Dak'Art Biennale 2018 "Long Green Lizards/Family Function" curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.
Hamedine Kane and Tejswini Sonawane, Salesman of Revolt, prints, 2018. Installation detail, Dak’Art Biennale 2018 “Long Green Lizards/Family Function” curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.

In view, work by Uchay Joel Chima. Installation view, Dak'Art Biennale 2018 "Long Green Lizards/Family Function" curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.
In view, work by Uchay Joel Chima. Installation view, Dak’Art Biennale 2018 “Long Green Lizards/Family Function” curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.

Jihan El Tahri, Diaspora FM, 2018. Installation detail, Dak'Art Biennale 2018 "Long Green Lizards/Family Function" curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer. 
Jihan El Tahri, Diaspora FM, 2018. Installation detail, Dak’Art Biennale 2018 “Long Green Lizards/Family Function” curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.

Jihan El Tahri, Diaspora FM, 2018. Installation detail, Dak'Art Biennale 2018 "Long Green Lizards/Family Function" curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.
Jihan El Tahri, Diaspora FM, 2018. Installation detail, Dak’Art Biennale 2018 “Long Green Lizards/Family Function” curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.

Ming Wong, Life of Imitation, Redux, 2018. Video scene shot, Dak'Art Biennale 2018 "Long Green Lizards/Family Function" curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer. 
Ming Wong, Life of Imitation, Redux, 2018. Video scene shot, Dak’Art Biennale 2018 “Long Green Lizards/Family Function” curated by Cosmin Costinas/Inti Guerrero/Sumesh Sharma. Photo credit: The Sole Adventurer.

Anike Joyce Sadiq, You Never Look At Me From The Place From Which I See You, 2015. Installation projection with Dak'Art guest, Dak'Art Biennale 2018 "Invisible" curated by Alya Sebti. Photo credit: The Sole Adventurer.
Anike Joyce Sadiq, You Never Look At Me From The Place From Which I See You, 2015. Installation projection with Dak’Art guest, Dak’Art Biennale 2018 “Invisible” curated by Alya Sebti. Photo credit: The Sole Adventurer.

A number of OFF Dak’Art exhibitions were outstanding and worth visiting. We have a few images from one the most striking OFF, La cloche des fourmis (The Bell of the ants) dedicated to Issa Samb (aka Joe Ouakam), showing at the Laboratoire Agit’Art, Dakar.

From "La cloche des fourmis" organized by Laboratoire Agit'Art. Photo credit: The Sole Adventurer.
From “La cloche des fourmis” organized by Laboratoire Agit’Art. Photo credit: The Sole Adventurer.

Photographs of Laboratoire Agit'Art by Bastien Defives. Installation detail showing Issa Samb. "La cloche des fourmis" organized by Laboratoire Agit'Art. Photo credit: The Sole Adventurer.
Photographs of Laboratoire Agit’Art by Bastien Defives. Installation detail showing Issa Samb. “La cloche des fourmis” organized by Laboratoire Agit’Art. Photo credit: The Sole Adventurer.

Annabel McCourt & Wanja Kimani, The Electric Fence. Installation view, "La cloche des fourmis" organized by Laboratoire Agit'Art. Photo credit: The Sole Adventurer.
Annabel McCourt & Wanja Kimani, The Electric Fence. Installation view, “La cloche des fourmis” organized by Laboratoire Agit’Art. Photo credit: The Sole Adventurer.

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