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Seven-year-old ‘mini-Picasso’ shakes up German art world

Mikail Akar doesn't flinch as the cameras click around him. Born in 2012, the German artistic prodigy has spent half his life in the limelight.

Seven-year-old 'mini-Picasso' shakes up German art world
The then 6-year-old Akar at an exhibition for his paintings in Hamburg in February 2019. Photo: DPA

With his striped jumper, goofy grin and dreams of becoming a professional footballer, Akar seems just like any other seven-year-old boy.

Yet the Cologne-born youngster is actually an expressionist whizz kid who has taken the international art scene by storm.

Dubbed the “pre-school Picasso” by German media, Akar's paintings now sell for thousands of euros to buyers from across the world.

'Enough action figures'

“At just seven years old, he is established in the art world. There is interest from Germany, France and the USA,” his father and manager, Kerem Akar, told AFP.

READ ALSO: Art in Germany: 10 critically-acclaimed galleries you can't miss

Akar senior discovered Mikail's precocious talent by chance several years ago, when he gifted his son a canvas and some handprint paints for his fourth birthday.

“We had already bought him enough cars and action figures, so we had the idea of getting him a canvas,” Kerem Akar said.

“The first picture looked fantastic, and I thought at first that my wife had painted it.”

“I thought maybe it was just coincidence, but by the second and third pictures it was clear he had talent.”

Akar with his parents Kerem (l) und Elvan at a Hamburg gallery in February 2019. Photo: DPA

Boxing gloves

Akar's talent is visible in his latest collection, a collaboration with Germany and Bayern Munich football star Manuel Neuer.

One work in the collection was recently sold for 11,000 euros, with proceeds going to Neuer's children's charity.

An explosion of colour reminiscent of Jackson Pollock, the piece is typical of Akar's abstract expressionist style.

The seven-year-old tells AFP that his idols include Pollock, Michael Jackson and Jean-Michel Basquiat.

He has also developed his own techniques, which include applying paint by punching the canvas with his father's boxing gloves.

At a presentation of Akar's new work at a private gallery in Berlin last month, one visitor said she was “speechless” upon discovering that the artist was a child who was just starting primary school.

“The balance and harmony of the composition — I wouldn't expect that from a child,” Arina Daehnick, a photographer from Berlin, told AFP.

Diana Achtzig, director of the Achtzig Gallery for Contemporary Art in Berlin, said she was impressed by Akar's “imagination and variation”.

“As long as he has someone supporting him and not exploiting him, then he has a great future ahead of him,” she said.

Football dreams

Akar himself says his dreams for when he has grown up lie elsewhere.

“When I'm older I want to be a football player,” he said, launching into an excited account of a recent 8-0 victory with his school team.

“Painting is quite tiring for me. Sometimes it can take a long time…especially with boxing gloves,” he said.

His father insists that he and his wife are careful not to push their son too hard and to protect him from the trappings of fame.

“If it gets too much for him, we will intervene. We turn down a lot of requests,” said the elder Akar.

“He only paints when he wants to. Sometimes that is once a week, sometimes
once a month.”

Successful brand

Yet Akar senior also admits that his life has changed dramatically since discovering his son's talent, and that he and his wife now “live for art”.

A former salesman and recruitment agent, the 38-year-old has since switched
to managing Mikail full time.

He has founded his own agency, and helped to establish his son as a successful brand.

At the event in Berlin, young Mikail rummages through a box of freshly ordered baseball caps adorned with his official logo.

He now has more than 40,000 followers on Instagram, and will exhibit his work abroad for the first time in the spring.

“Our next exhibition is in Cologne,” said the boy's father. “After that, we are going to Paris!”

By Kit Holden

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ART

African-born director’s new vision for Berlin cultural magnet

One of the rare African-born figures to head a German cultural institution, Bonaventure Ndikung is aiming to highlight post-colonial multiculturalism at a Berlin arts centre with its roots in Western hegemony.

African-born director's new vision for Berlin cultural magnet

The “Haus der Kulturen der Welt” (House of World Cultures), or HKW, was built by the Americans in 1956 during the Cold War for propaganda purposes, at a time when Germany was still divided.

New director Ndikung said it had been located “strategically” so that people on the other side of the Berlin Wall, in the then-communist East, could see it.

This was “representing freedom” but “from the Western perspective”, the 46-year-old toldĀ AFP.

Now Ndikung, born in Cameroon before coming to study in Germany 26 years ago, wants to transform it into a place filled with “different cultures of the world”.

The centre, by the river Spree, is known locally as the “pregnant oyster” due to its sweeping, curved roof. It does not have its own collections but is home to exhibition rooms and a 1,000-seat auditorium.

It reopened in June after renovations, and Ndikung’s first project “Quilombismo” fits in with his aims of expanding the centre’s offerings.

The exhibition takes its name from the Brazilian term “Quilombo”, referring to the communities formed in the 17th century by African slaves, who fled to remote parts of the South American country.

Throughout the summer, there will also be performances, concerts, films, discussions and an exhibition of contemporary art from post-colonial societies across Africa, the Americas, Asia and Oceania.

‘Rethink the space’

“We have been trying to… rethink the space. We invited artists to paint walls… even the floor,” Ndikung said.

And part of the “Quilombismo” exhibition can be found glued to the floor -African braids laced together, a symbol of liberation for black people, which was created by Zimbabwean artist Nontsikelelo Mutiti.

According to Ndikung, African slaves on plantations sometimes plaited their hair in certain ways as a kind of coded message to those seeking to escape, showing them which direction to head.

READ ALSO: Germany hands back looted artefacts to Nigeria

His quest for aestheticism is reflected in his appearance: with a colourful suit and headgear, as well as huge rings on his fingers, he rarely goes unnoticed.

During his interview with AFP, Ndikung was wearing a green scarf and cap, a blue-ish jacket and big, sky-blue shoes.

With a doctorate in medical biology, he used to work as an engineer before devoting himself to art.

In 2010, he founded the Savvy Gallery in Berlin, bringing together art from the West and elsewhere, and in 2017 was one of the curators of Documenta, a prestigious contemporary art event in the German city of Kassel.

Convinced of the belief that history “has been written by a particular type of people, mostly white and men,” Ndikung has had all the rooms in the HKW renamed after women.

These are figures who have “done something important in the advancement of the world” but were “erased” from history, he added. Among them is Frenchwoman Paulette Nardal, born in Martinique in 1896.

She helped inspire the creation of the “negritude” movement, which aimed to develop black literary consciousness, and was the first black woman to study at the Sorbonne in Paris.

Reassessing history

Ndikung’s appointment at the HKW comes as awareness grows in Germany about its colonial past, which has long been overshadowed by the atrocities committed during the era of Adolf Hitler’s Nazis.

Berlin has in recent years started returning looted objects to African countries which it occupied in the early 20th century — Burundi, Rwanda, Tanzania, Namibia and Cameroon.

“It’s long overdue,” said Ndikung.

He was born in Cameroon’s capital, Yaounde, into an anglophone family.

The country is majority francophone but also home to an anglophone minority and has faced deadly unrest in English-speaking areas, where armed insurgents are fighting to establish an independent homeland.

One of his dreams is to open a museum in Cameroon “bringing together historical and contemporary objects” from different countries, he said.

He would love to locate it in Bamenda, the capital of Cameroon’s restive Northwest region.

“But there is a war in Bamenda, so I can’t,” he says.

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