The aesthetic, cultural and political structure of the collection provides a platform that enables the creation of mechanisms for a sufficiently autonomous cultural production, given that it is through art and culture that the symptoms of individual and collective sovereignty are best expressed. The collection has created an interaction and a dialogue between the aesthetics of different times.

Hence, my first approach was through historic and aesthetic rhythm. Then I tried to take a fresh look and drew up a new inclusive and encompassing design by developing a contemporary segment of a sufficiently representative acquis of African artistic production by artists who are setting new paradigms in art history.

Contemporary time is what objectively interests me, since it also lets us reflect on other times of African aesthetics and art. The collection evolves around a timeless universe so that, after forays into historic times specific to African art, it positions itself as the collection of all times.

In light of this, we aim at reconstructing the epic path of African civilizations through contemporary art in permanent dialogue with the old/classic African art, so as to create a cultural mapping related to the presence of Africans in the history of humankind.

The participation of Africans was, is and will obviously be an intrinsic part of the world’s cultural and aesthetic changes.

I believe it is vital to reveal the thought and historical authenticity of the path of African aesthetics.


Sindika Dokolo