Could art, be a part of culture, be perceived as Africa's wealth? Could art dealing become the basis for the change of status of people who reproduce it? Or is it merely a cliche, referring to the general concept of art being able to spiritually enrich people? It was the European approach to the value of an object that gave African artefacts an entirely new financial dimension. Thus, culture became interwoven with economy, with which traditionally it had very little in common. Through the growth of the antiquarian market, this co-relation has created an entirely new direction of development of the parts of culture involved and a new approach guided by the dynamics of global economy. According to these dynamics, anything could become an object of trade. In practice, demand started to dictate the scale of the reproductiveness of non-art, and its value began to grow in a disproportionate and totally random manner. Culture, a part of the economic puzzle, became entangled in a network of mutual intercultural reactions stimulated solely by demand and supply. This mutual interest shaped the changes which took place within the local cultures, and which were driven by tourism and the demands of the antiquarian market. Art, a part of culture - the most measurable and tangible one - has clearly found its place in the commercial marketplace shaped by the interests of the non-African world. The uniqueness, distinctiveness, and the aesthetic and religious aspects of African artefacts have created a base for investment, whose roots can be traced back to the times of the Cubist discovery.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.