la biennale de dakar comme projet de coopération et de développement, soutenance de thèse de...
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La Biennale de Dakar comme projet de coopération et de développement. Candidat Iolanda Pensa Directeurs de recherche Jean-Loup Amselle en cotutelle avec Rossella Salerno Jury Jean-Loup Amselle, Elio Grazioli, Rossella Salerno, Tobias Wendl Paris, 27 juin 2011 Ecole des Hautes Etudes en Sciences Sociales en cotutelle avec Politecnico di Milano, Dipartimento di Architettura e Pianificazione Thèse de doctorat en Anthropologie sociale et ethnologie Governo e progettazione del territorio Iolanda Pensa (nom complet Maria Iolanda Isabella Pensa), La Biennale de Dakar comme projet de coopération et de développement, thèse de doctorat en Anthropologie sociale et ethnologie et en Governo e progettazione del territorio, Ecole des Hautes Etudes en Sciences Sociales en cotutelle avec Politecnico di Milano, Dipartimento di Architettura e Pianificazione, directeurs de recherche Jean-Loup Amselle en cotutelle avec Rossella Salerno, jury Jean-Loup Amselle, Elio Grazioli, Rossella Salerno, Tobias Wendl, Paris, 27 juin 2011. CC by-sa The Biennale de Dakar as a project of cooperation and development The study observes the international art system from Dak’Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of biennial exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak’Art and the way contemporary productions are structured as “projects”. It appears clearly that culture is more and more often structured as “projects”; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn’t necessarily imply the selling of artworks within a gallery.TRANSCRIPT
La Biennale de Dakarcomme projet de coopération et de développement
Candidat Iolanda PensaDirecteurs de recherche Jean-Loup Amselle en cotutelle avec Rossella SalernoJury Jean-Loup Amselle, Elio Grazioli, Rossella Salerno, Tobias WendlParis, 27 juin 2011
Ecole des Hautes Etudes en Sciences Sociales en cotutelle avec Politecnico di Milano, Dipartimento di Architettura e PianificazioneThèse de doctorat enAnthropologie sociale et ethnologie Governo e progettazione del territorio
Internet Map, ChrisHarrison.net
Iman Issa, Going Places : A Project for Public Busses, Le Caire, 2003-2004. Courtesy Iman Issa et Brian Wood
I.
Dak’Art
Biennale du Caire
CAPE Not Another BiennaleBiennale de Cape Town
SUD Salon Urbain de Douala
Triennale de Luanda
Rafal B. Niemojewski, Global Positions of Biennals, 1989-2005 in The Manifesta Decade, MIT Press, 2005, p. 20
II.
1990 1992 1996 1998 2000 2002 2004 2006 2008 2010 2012
III.II.
IV.
Hala ElKoussy, (Re)Constructione #2, 2003. photo 70x100cm
V.
Meanwhile in Africa..., Nuremberg, 2005
VI.
Basim Magdy, Superman Will Save Us All, Le Caire, 2002, postcard
VII.
Marcela Moraga, When I was of Colour, Cuba, 2001, photo PVC 200x150cm. Cairo International Biennale 2001
Iman Issa, Going Places : A Project for Public Busses, Le Caire, 2003-2004. Courtesy Iman Issa et Brian Wood
1.
Biennial Foundation, Biennial Map, 2010
Iolanda Pensa e Stefano Baseggio, Dakar, 2007
CAPE Not Another Biennale
Triennale de Luanda
SUD Salon Urbain de Douala 2010
Marie-Françoise Plissart, Kinshasa. Courtesy Biennale dell’architettura di Venezia 2004, Padiglione Belgio
Ismail Farouk et Babak Fakhamzadeh, sowetouprising.com, Johannesburg, 2006
Ismail Farouk et Babak Fakhamzadeh, sowetouprising.com, Johannesburg, 2006
Ba
Chimurenga Library, Network, 2008
Steve Jurvetson, Internet Splat Map, 2004. jurvetson/flickr, CC-BY
Rasheed Araeen, Mediterraneo, 2005
Basim Magdy, Superman Will Save Us All in Going Places : A Project for Public Busses, Le Caire, 2003-2004
Help and global relief for the Katrina disaster. US pavillion, Biennale dell'architettura di Venezia, 2004
Organisation internationale de la Francophonie, Implantations dans le monde, site internet, 2010
Pro Helvetia, website, still 2008
Ford Foundation, website, still 2009
CulturesFrance (avec Labiomatic) Identité visuelle, projet non retenu, 2006
Mounir Fatmi, G8 Les balais, 2004, installation
Tsesler et Voichenko, Welcome, Minsk, Road sign
Meanwhile in Africa..., Nuremberg, 2005
2.
Africa Remix, 2005, p. 82
Africalia logo
Ingrid Mwangi, Static Drift, 2001. Courtesy Looking Both Ways, 2004-2006
Daddy Buy me a Pony, Festive season greeting card client Pro helvetia, Décembre 2003
Goddy Leye, We are the World, 2006. Vidéo in Meanwhile in Africa..., Berlin, 2006
Bettino Craxi, In the World (3) in Sempter Aliquid Novi Ex-Africa : Opere di Bettino Craxi (cat. expo), Edizione Di là dal fiume e tra gli alberi, Brescia, 1992, p. 88
mappa sistema dell’arte africano
Marcela Moraga, When I was of Colour, Cuba, 2001, photo PVC 200x150cm. Cairo International Biennale 2001
3.
Ed Westcott / US Army / Control panels and operators for calutrons at the Y-12 Plant in Oak Ridge, Tennessee during the Manhattan Project, Wikimedia Commons, pd.
Projet
Objectifs Activités Résultats
Projet
Objectifs Activités Résultats
CalendrierBudget
Résoudre les problèmes
Bénéficiaires et évaluation
Tsesler et Voichenko, Minsk, 2002, object
Lara Baladi, Sandouk el dounia (The world in a box), 2001
Sandrine Dole, Sans titre, 2003, photographie
Tsesler et Voichenko, Tank, Minsk, 2002, object
Jeff Wall, Invisible Man, 2001. Cibachrome transparency, aluminium light box, 240x320 cm. Courtesy Documenta, Kassel, 2002
Alfredo Jaar, Muxima, 2005, still video 36'. Courtesy Check List Luanda Pop, Biennale di Venezia 2007
Jane Alexander, Courtesy Africa Screams, Vienna, 2004
Minnette Vari. Oracle, still video animation 2', 1999. Courtesy Biennale di Venezia, 2001
Rossella Biscotti (1978) et Kevin van Braak (1975), New Crossroads, New Crossroads Cape Town, 2006, video 23'