Dakar Biennale 16: Morad Montazami on Healing Our Fragilities

Whereas the announcement of the 16th Dakar Biennale might seem like a distant cultural milestone occurring thousands of miles away in Senegal, the ripple effects of global contemporary art movements always find their way into the heart of New York City. For those of us navigating the intersection of the Upper East Side’s gallery district and the cutting-edge installations in DUMBO, the appointment of Morad Montazami as Artistic Director signals a shift in how we perceive the relationship between trauma, recovery, and artistic expression. In a city that has historically served as a global hub for the African diaspora and a center for postcolonial study, the themes of the upcoming Biennale—centered on “(Anti)fragility”—resonate deeply with the local ethos of resilience and urban renewal.

The Philosophy of (Anti)fragility in Contemporary Art

Morad Montazami, a Franco-Iranian art historian and curator, has been entrusted by the Senegalese Ministry of Culture, Craftsmanship, and Tourism to lead the 16th edition of the Biennale of Contemporary African Art. Scheduled to capture place from November 19 to December 19, 2026, the event is not merely a showcase of aesthetics but a theoretical exploration of what it means to thrive amidst chaos. The overarching concept, “(Anti)fragility: arts of repair and counter-shock strategies,” draws directly from the intellectual framework of Nassim Nicholas Taleb’s 2012 work, Antifragile: Things That Gain From Disorder.

For Montazami, (anti)fragility is an active attitude. This proves the process of transforming fragility into a strength—both expressive and artistic—by emphasizing social and communal bonds and the power of co-creation. This approach moves beyond simple resilience; while resilience is about resisting a shock, antifragility is about improving because of it. In the context of the Dakar Biennale, this manifests as a study of how to live in an uncertain and chaotic world, utilizing tough situations to emerge stronger. This intellectual pivot is particularly relevant for New York’s art institutions, which often grapple with the tension between preserving historical narratives and embracing the disruptive nature of contemporary global movements.

A Curatorial Blueprint: Repair, Care, and Counter-Shock

The 16th Biennale is structured around three primary pillars developed by Montazami: the powers of the fragile, the arts of care and repair, and counter-shock strategies. These chapters seek to explore alternative systems, often inspired by local knowledge and survival strategies. This includes the development of “don/contre-don” (gift/counter-gift) systems, the construction of shelters, and the adoption of (post)-therapeutic approaches to art.

Montazami’s background provides a robust foundation for this ambitious project. As the Director of Zamân Books & Curating, he focuses on the modern and contemporary arts of Africa, the Arab world, and Asia, specifically examining postcolonial art history. His previous experience as a curator for Arab and African worlds at the Tate Modern in London between 2014 and 2019 equips him with the global perspective necessary to bridge the gap between Dakar’s local specificities and the international art market. By focusing on “repairing what is damaged” and “healing wounds,” the Biennale aims to sublimate the everyday and value simplicity in a world characterized by conflict and instability.

Integrating Global Perspectives into the New York Art Ecosystem

The appointment of Montazami is a historic one, as he becomes the first curator of Iranian origin to hold this position. This diversification of leadership mirrors the trends we witness within the Metropolitan Museum of Art and the Museum of Modern Art (MoMA), where there is an increasing push to revalorize non-Western modernities. When we look at the “arts of repair” discussed by Montazami, we see a parallel to the community-based art projects found in the South Bronx or the conceptual installations in Chelsea that address systemic fragility.

The focus on “counter-shock strategies” is especially pertinent to the New York experience. The city’s ability to reinvent itself after economic crashes or social upheavals is a living example of antifragility. By integrating these strategies into a curatorial project, Montazami is essentially asking artists to move from a state of victimhood to a state of agency, using the “shocks” of history to build more durable cultural structures. This aligns with the broader movement of cultural consultancy that seeks to align institutional values with the lived experiences of marginalized communities.

Navigating the Impact: Local Resources for New York Residents

Given my background in analyzing the intersection of global trends and local implementation, the themes of (anti)fragility and the “arts of repair” can be applied beyond the gallery walls. Whether you are an artist looking to pivot your practice toward social co-creation or a collector interested in postcolonial modernities, these global shifts require specific local expertise. If you are looking to integrate these concepts into your professional or artistic life here in New York, here are the types of local professionals you should engage:

Postcolonial Art Consultants

Look for specialists who possess deep academic roots in African, Arab, and Asian modernities. The ideal consultant should be able to help you navigate the ethical complexities of acquiring and exhibiting art from the Global South, ensuring that the “arts of repair” are handled with cultural sensitivity and historical accuracy.

Community-Based Curatorial Strategists

Since Montazami emphasizes co-creation and communal bonds, you need professionals who specialize in “social practice” art. Seek out strategists who have a proven track record of working with local neighborhoods—perhaps those experienced in transforming vacant urban spaces into communal art hubs—and who understand how to facilitate collaborative creation rather than top-down curation.

Art Conservation and “Repair” Specialists

In line with the theme of “arts of repair,” certain conservators focus on the philosophy of visible repair (similar to the Japanese Kintsugi) rather than invisible restoration. Look for specialists who can balance the technical requirements of preservation with the artistic intent of highlighting a work’s “fragility” or history of trauma as a point of strength.

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