The Mauritius Arts and Culture Investment Summit (MACIS 2026), held last month at the Ocean Creek Hotel, was touted by its organizer, ZeeArts, as a major step in its strategy to establish Mauritius as a hub for arts and cultural tourism in Africa and the Indian Ocean. Unfortunately, it turned out to be nothing more than an empty shell, a superficial spectacle rather than substance, much like most of their previous initiatives. MACIS 2026 became another exercise in “blowing one’s own trumpet.” The result was predictable: no tangible outcomes, no lasting impact, and no credible path forward for Mauritius’ cultural sector.
At their first art fair, MIAF 2019, I initially found ZeeArts’s efforts to contribute to the development of our arts sector and support artists quite commendable. But over time, like many observers, I’ve found their approach to be entirely superficial, focused on self-promotion, and devoid of any serious commitment to artistic development. Their events seem to be nothing more than formalities, well-designed and carefully crafted to impress and pad a CV, rather than platforms that nurture creativity or strengthen the art market.
MACIS 2026 was launched at the Tamarina Golf Club with the vernissage of an art exhibition. A lavish evening—red carpet, sega dancers, light, music, flattering speeches, presentation of certificates and gifts, and endless photo sessions staged for social media. Yet, the artists and their works were relegated to mere decoration. A fashion show, meticulously prepared by young designers studying at the Academy of Design and Innovation (ADI), failed to capture the attention of an audience already weary of ceremonies.
The choice of venue was questionable, to say the least. Why organize a three-day exhibition on climate change—intended to position Mauritius as a leader in climate-conscious cultural practices—in a golf club? An exclusive space, within a gated community isolated from the rest of the population. The exhibition seemed more like a mere formality, a box ticked to claim the third edition of United for Climate, COP28, as another achievement, but in fact, any genuine attempt to raise public awareness was entirely absent.
I have always maintained, loud and clear, that without artists, there would be no art galleries, no art museums, no curators, no art historians, no art managers, no Ministry of Arts, and no Minister of Arts! Artists are the driving force of the art ecosystem, and how we treat them is paramount. Yet, at MACIS, a glaring disparity was evident: Red carpet treatment and luxury hotels for the delegates, but nothing for the artists. The foreign artists had to cover their own participation costs: airfare, airport transfers, accommodation, art supplies, and transport of their artwork. Local artists also had to bear all their participation costs, despite the presence of many renowned sponsors such as the EDB, Medine, PhoenixBev, the Ministry of Tourism, etc.
I was deeply moved by the plight of two Malagasy participants who shared the sacrifices they made to attend, while a Comorian artist listed as participant could not come at all due to lack of funds. Such a lack of consideration undermines the very foundation of the art ecosystem and the idea of sustainability which the organization praises so much.
Regarding the summit itself, the organizers have allowed themselves to make exaggerated statements: “Building on the success of three editions of the Mauritius International Art Fair, the Mauritius Art and Culture Investment Summit 2026 emerges as a premier platform dedicated to positioning Mauritius as a leading art and cultural destination”. But what indicators were used to measure this “success”? Normally an art fair is an artistic event where galleries, artists, curators, and art collectors converge to buy and sell art. Art fairs celebrate the visual arts and inform us about the evolution of the contemporary art world. They play a significant role in the art market by serving as a platform for exchange between artists, their representatives, and potential buyers. With sales as their primary objective, curators select established and renowned artists, alongside emerging artists with promising careers and original artistic approaches.
The success of an art fair is measured by the quality of the works exhibited and, above all, by the volume of sales. Unfortunately, all three editions of MIAF suffered from weak sales paired with the lack of quality works. Furthermore, many of the so-called “international artists” appeared to be spouses of expatriates and amateur artists based in wealthy Middle Eastern countries—hardly the calibre needed to elevate Mauritius onto the global stage.
Another shortcoming was the absence of key figures from the local visual arts sector. Their participation would have significantly enriched the discussions, offering a deeper understanding of the current context and helping to lay a more solid foundation for future initiatives. Instead, many people with little connection to the visual arts or finance were among the guests, including a former president whom I greatly respect, but whose area of expertise lies outside this sector.
As for the discussions which were supposed to be the core purpose of the event, various panels were limited to a superficial overview of their respective topics. Many speakers spent more time presenting their organization’s vision and mission than analyzing the current situation or proposing actionable roadmaps. For our art market to thrive, we need established artists with a solid track record, emerging young talents, professional galleries to manage artists and their works, and training programs to cultivate new collectors. Unfortunately, even 58 years after Mauritius gained independence, art is still too often relegated to the role of mere interior decoration, mainly used to match sofas and curtains. This situation will persist until art is granted its rightful place in society—as an essential and fundamental component of our cultural identity. To achieve this, we need skilled professionals in the right places, truly committed to making a difference: not through empty words, but through their dedication, professionalism, and integrity.
If Mauritius aspires to become a true cultural hub, we must move beyond mere entertainment and invest in substance. The following measures are crucial and deserve special attention:
- Government and private sector support: To fund serious artistic initiatives and offer individualized support to artists wishing to participate in residencies, exhibitions, art fairs, and biennials abroad. These arenas are where careers are built, and reputations established.
- Incentives for art galleries: They play a crucial role in the art world by connecting artists, collectors and institutions, supporting the careers of emerging and established artists and contributing to the cultural and economic life of the country.
- A “1% for art” law: For every new public or private development project—buildings, roads, metro stations, bridges, smart cities—1% of the budget should be allocated to commissioning artworks from local artists. This would boost sales, embed creativity into our public spaces and democratize access to art.
- A national art museum: Such an institution is indispensable for preserving heritage, educating the public, acquiring works, and promoting creativity. It would strengthen community engagement and elevate contemporary artists, enhancing their credibility and market position.
Unfortunately, MACIS 2026 failed to deliver any tangible outcomes. Let’s hope that future editions will rise above self-promotion and empty flattery to adopt a more effective structure and organization, imbued with sincerity and authenticity, prioritizing artists over ceremonies. This article is not intended merely as criticism, but as an effort to highlight shortcomings and suggest avenues for improvement. It is high time to combat mediocrity in the arts and put an end to these empty charades. Mauritius deserves authentic, inclusive, and artist-centered—initiatives that create real cultural value rather than superficial spectacle.
In this spirit, ZeeArts has announced plans to organize the Indian Ocean Islands Biennale. It is important to note that pARTage, the local artists’ association I lead, has long been engaged in this project, with preparatory support from Pro Helvetia. We do not claim ownership of the event; rather, we welcome its realization by anyone prepared to pursue it with professionalism, transparency, and respect for artists. If managed well, this biennial could reinvigorate the region’s artistic landscape. We extend our best wishes to ZeeArts for success in this endeavour.
Krishna Luchoomun
pARTage
