Venice, June 2 – Africa remains unknown in the West, except for news of its political, environmental, and migration crises, yet it is considered the “continent of the future.” Therefore, the 18th Venice Architecture Biennale, taking place these days, is an opportunity to look at that region and its diaspora, without clichés, and to establish a frank communication with this territory.
While the United States until recently considered Africa merely a problem, China has established a massive influence in the region over the past two decades through loans and infrastructure, while Russia also has a significant presence there.
Africa now demands a different relationship with investors, as it "will no longer be limited to being a source of raw materials, but an equal trading partner," according to Albert Muchanga, African Union Trade Commissioner.
In the face of these changes, the biennial proposes an active and proactive model of architecture where African culture is valued through a virtuous project of change.
The primary objective of the meeting has always been to reflect and discuss the burning issues of our time, in a forum of global visibility that sets trends. Strangely, Africa, in terms of the visual arts, has been a latecomer to this recognition. The contemporary art exhibition Documenta in Kassel dedicated its 2002 edition to it, as did the Venice Biennale in 2015, both curated by the great Okwui Enwezor (1963-2019).
These days, Africa at the Architecture Biennale continues to have negligible representation in the national pavilions: of the 54 countries that make up the continent, only Egypt and South Africa have permanent venues. Niger is the only additional country participating this year, with a decentralized space on the island of San Servolo.
Of the 89 participants, half are African and from the diaspora; the rest are from the so-called global south. The impeccable curation, dominated by the color brown, presents fresh, challenging, and critical ideas that counter the European right-wing wave.
The novelty lies not only in the origins of the individuals, but also in their aspirations, projects, and priorities. These are some of the projects the public will be able to see until November 26. The challenge will be to see whether the model will have a positive impact on global architecture.
