{"id":1154,"date":"2013-07-29T15:35:25","date_gmt":"2013-07-29T14:35:25","guid":{"rendered":"https:\/\/en.lepeuplequimanque.org\/histoires-afropolitaines-de-lart-multitudes-n53-54.html"},"modified":"2013-07-29T15:35:25","modified_gmt":"2013-07-29T14:35:25","slug":"histoires-afropolitaines-de-lart-multitudes-n53-54","status":"publish","type":"post","link":"https:\/\/en.lepeuplequimanque.org\/en\/2013\/histoires-afropolitaines-de-lart-multitudes-n53-54\/","title":{"rendered":"Histoires afropolitaines de l\u2019art – Multitudes n\u00b053-54"},"content":{"rendered":"
\"logo-multitudes.jpg\"<\/div>\n

Double Issue 53-54, Fall 2013, Revue Multitudes
\nMajeure – Afropolitan Histories of\u00a0<\/span><\/strong>Art<\/span><\/strong>
\nEdited by\u00a0Kantuta Quir\u00f3s et Aliocha Imhoff<\/strong>
\nReleased : February 2014<\/p>\n\n\n\n
<\/td>\n<\/td>\n\n
SAVE THE DATE
\n<\/strong>Pre-launching : Satursday, October 19, 2013,talk by John Peffer<\/strong> (Ramapo College, New Jersey, Etats-Unis)
\n6 pm, Galerie Dufay-Bonnet<\/a>.
\nCit\u00e9 artisanale, 63 rue Daguerre – 75014 Paris<\/p>\n<\/div>\n

\u00a0<\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n

\u00a0<\/p>\n

\"butcher-boys-jane-alexander.jpg\"<\/a><\/div>\n
Butcher Boys 1985-1986 (detail 2) \u00a9 Jane Alexander photographie Svea Josephy, courtesy de l\u2019artiste<\/span><\/div>\n

\u00a0<\/p>\n

Depuis la fin des ann\u00e9es 1980, un mouvement d\u2019internationalisation des \u00e9changes culturels a dessin\u00e9 les contours d\u2019une nouvelle g\u00e9ographie culturelle mondiale. Sous la forme de ce qui a \u00e9t\u00e9 appel\u00e9 un nouvel internationalisme (tel que ces d\u00e9bats ont \u00e9t\u00e9 formul\u00e9s \u00e0 la biennale de Venise en 1990), la prise en compte par les grandes institutions mus\u00e9ales occidentales des sc\u00e8nes artistiques extra-occidentales, longtemps n\u00e9glig\u00e9es, est all\u00e9e de pair avec une r\u00e9vision de leurs r\u00e9cits historiographiques.
\nDans ce contexte, la reconnaissance d\u2019artistes contemporains d\u2019origine africaine est all\u00e9e croissante sur les sc\u00e8nes globales de l\u2019art (mus\u00e9es, grandes expositions r\u00e9gionales panoramiques, collections priv\u00e9es, fondations, biennales, foires).
\nElle a n\u00e9anmoins souvent \u00e9t\u00e9 coup\u00e9e, et en France tout particuli\u00e8rement, de la r\u00e9ception et la traduction de ressources discursives et pens\u00e9es th\u00e9oriques sur l\u2019art, venues d\u2019Afrique.
\nCe premier volet d\u2019un chantier de traductions choisit de s\u2019int\u00e9resser \u00e0 l\u2019\u00e9mergence, dans les ann\u00e9es 1990, d\u2019un \u00ab nouveau discours africain sur l\u2019art \u00bb, port\u00e9 par une g\u00e9n\u00e9ration de commissaires, historiens et th\u00e9oriciens de l\u2019art, qui aura d\u00e9velopp\u00e9 des plateformes discursives \u00e0 forte valeur critique et choisi, en premier lieu, de r\u00e9\u00e9valuer les modernit\u00e9s artistiques africaines.
\nSon discours sur l\u2019art s\u2019est ancr\u00e9 dans un refus de l\u2019 \u00ab authenticit\u00e9 \u00bb et du \u00ab nativisme \u00bb\u00a0 et un projet de d\u00e9sessentialisation de l\u2019Afrique. L\u2019Afrique, comme \u00ab r\u00e9gion g\u00e9oesth\u00e9tique \u00bb a \u00e9t\u00e9 repens\u00e9e, depuis un paradigme de mobilit\u00e9 (des populations et des flux culturels), que le penseur camerounais Achille Mbemb\u00e9 a th\u00e9oris\u00e9, plus r\u00e9cemment, \u00e0 partir du concept d\u2019\u00ab afropolitanisme \u00bb, envisag\u00e9 comme une stylistique, une esth\u00e9tique et une certaine po\u00e9tique du monde.
\nConstitu\u00e9 de contributions originales autant que de traductions de quelques textes importants publi\u00e9s ces vingt derni\u00e8res ann\u00e9es, sont discut\u00e9s dans ce num\u00e9ro la fonction de la critique d\u2019art et des discours historiographiques sur l\u2019art en Afrique, les politiques de la repr\u00e9sentation, la relecture des modernit\u00e9s africaines et les discussions autour des cat\u00e9gories d\u2019authenticit\u00e9, de diaspora,\u00a0 d\u2019afropolitanisme, ou de post black art pour penser l\u2019art moderne et contemporain africain autant que des \u00e9tudes monographiques et un entretien d\u00e9di\u00e9 au tournant \u00e9ducationnel des nouvelles initiatives curatoriales en Afrique.<\/div>\n

Kantuta Quiros & Aliocha Imhoff<\/p>\n

\u00a0<\/p>\n

Sommaire de la Majeure:<\/span><\/strong>
\nAfropolitan Histories of\u00a0<\/span><\/strong>Art<\/span><\/strong><\/div>\n

N\u00b053<\/strong> (version papier, in French):
\nKantuta Quir\u00f3s et Aliocha Imhoff,<\/strong> Historiographies de l\u2019art, depuis l\u2019Afrique<\/del> (Fragments pour un chantier de traductions des discours africains sur l’art)<\/em>
\nJohn Peffer<\/strong>, La diaspora des images de l\u2019Afrique<\/em>
\nChika Okeke-Agulu<\/strong>, The Art Society et la construction du modernisme postcolonial au Nig\u00e9ria<\/em>
\nSandy Prita Meier<\/strong>, Malaise dans l\u2019authenticit\u00e9: \u00e9crire les histoires \u00ab africaines \u00bb et \u00ab moyen-orientales \u00bb de l\u2019art moderniste<\/em>
\nMalick Ndiaye<\/strong>, l’Image th\u00e9orique ou l’artiste face \u00e0 l’Histoire.<\/em>
\nNana Adusei-Poku<\/strong>,\u00a0 \u00abenracin\u00e9 dans, mais pas limit\u00e9 par \u00bb – Les black artistes contemporains et l’\u00e9volution des conditions de la repr\u00e9sentation <\/em>
\nOlu Oguibe<\/strong>,\u00a0 La critique d\u2019art et l\u2019Afrique. Pens\u00e9es pour un nouveau si\u00e8cle.<\/em><\/p>\n

N\u00b054<\/strong> (digital format):
\nAnitra Nettleton<\/strong>, Modernism, Primitivism and the search for Modernity: A 20th Century quandary for Black South African artists<\/em>.
\nPratiques curatoriales et tournant \u00e9ducationnel<\/em>. Entretien avec Koyo Kouoh<\/strong>, par Aliocha Imhoff et Kantuta Quir\u00f3s
\nOlu Oguibe<\/strong>, Art Criticism and Africa. Thoughts toward a New Century<\/em>
\nJohn Peffer<\/strong>, Africa’s Diasporas of Images<\/em>
\nSandy Prita Meier<\/strong>, Authenticity and Its Discontents: Making Modernist Art Histories \u201cAfrican\u201d\u00a0\u00a0 <\/em>
\nNana Adusei-Poku,<\/strong> ” rooted in, but not restricted by “<\/em> – Contemporary Black Artists and the Changing Conditions of Representation<\/p>\n


\n<\/span><\/strong><\/p>\n

R\u00e9sum\u00e9s<\/span><\/strong> n\u00b0 53, version papier<\/div>\n

\u00a0<\/p>\n

\n

Kantuta Quir\u00f3s et Aliocha Imhoff<\/strong>, Art Historiographies, from Africa<\/del>.\u00a0<\/em>
\nSince the late 1980s, the growing recognition, on the global art scene, of long neglected contemporary artists of African origin went hand in hand with an exaltation of multiculturalism, erasing the borders which divide the art world. The reception granted to these artists, in particular in France, was severed from the reception of the theoretical resources which reframed art from an African perspective. This article introduces a wider project of translation of historiographic discourses and African views on art, documenting the emergence, in the 1990s, of a \u201cNew African discourse\u201d on art, carried by a generation of curators, historians and theorists who chose to reevaluate the various trends of modern African art.<\/p>\n

John Peffer<\/strong>, Africa\u2019s Diasporas of Images<\/em>
\nThis essay addresses the concept of a history for African art objects by thinking them across space and time as vehicles for “diasporas” of images. John Peffer proposes a consideration of African art from the perspective of diaspora, as objects in motion, and as objects that articulate between and across disparate cultural histories and the cultural zones of others. In the process, John Peffer attempts to bridge the continuum spanning arts otherwise categorized as “traditional” or “contemporary”.<\/p>\n

Chika Okeke Agulu,<\/strong> The Art Society and the Making of Postcolonial Modernism in Nigeria<\/em>
\nThis essay focuses on the work of the Art Society \u2013 a group formed by art students at the Nigerian College of Art, Science, and Technology, Zaria (1957-61) \u2013 and suggests that the work of its key members in the 1960s was the first significant manifestation of postcolonial modernism in Nigeria. Postcolonial modernism, the essay argues, refers to a set of formal and critical attitudes adopted by African and black artists at the dawn of political independence as a countermeasure against the threat of loss of self in the maelstrom unleashed by Western cultural imperialism and its aftermath. In defining their relationship with European and African artistic heritages, the Art Society and other postcolonial artists emphasized the importance of local and indigenous artistic resources in the making of their decidedly modernist work. The essay details the convening of the postcolonial literary and artistic avant-garde at the Mbari Artists and Writers Club, Ibadan, Nigeria, in the early 1960s and claims that their modernism was directly linked to the practice and rhetoric of political and cultural decolonization and sovereignty. Further, the essay argues that in recognizing and advocating the equal validity of the plastic and conceptual potential of indigenous African, non-Western, and European artistic traditions in the construction of the modern, the Art Society and its contemporaries testified to modernism\u2019s transnational and multicultural foundations. It suggests that the exploration of the historical implications of the encounter with multiple, sometimes contradictory logics o
\nf politics, art, and culture involves what the author describes as compound consciousness \u2013 the willful incorporation and critical resolution of the alienation and fragmented subjectivity produced by the colonial experience.<\/p>\n

Sandy Prita Meier<\/strong>, Authenticity and Its Discontents : Making Modernist Art Histories “African” and “Middle Eastern”<\/em>
\nIn her article, Sandy Prita Meier establishes some of the central theoretical concerns that frame this issue, particularly noting the overlaps and divergences that have shaped “African” and “Middle Eastern” modernisms within the discipline of art history. She rereads the multiple ways in which, curators, critics, and scholars have contended with questions surrounding the “modern” over the last two decades. Meier highlights the “multiple modernities” model as a strategic position for both excising the continued anxiety about “authenticity” and moving beyond the “particularism and universalism” to which art historical inquiry is all too closely wedded to.<\/p>\n

Nana Adusei-Poku<\/strong>, “rooted in, but not restricted by” \u2013 Contemporary Black Artists and the Changing Conditions of Representation<\/em>
\nBlackness was and is still en vogue in the beginning of the 21st century, not only in popular culture but also in the arts, which synchronically reproduces classical stereotypes about the Black body and challenges Black artists and scholars not to fall into already established counter-discourses but rather expand the repertoires of representations. This article thus aims to explore the difficulties and intricacies of the idea of post-black art and its curatorial legacy, which was introduced as a curatorial concept in 2001. Additionally, it examines the option of opening up the debate into a wider discourse of identity politics, their various meanings, limitations and promises for the contemporary. The article is framed by a series of questions that are fundamental to understanding the complexity of the idea of post-black. Nana Adusei-Poku foregrounds the discussion with the general considerations “What is post-black art ?” and “What is meant by \u2018black\u2019 in post-black art ?”<\/p>\n

Malick Ndiaye<\/strong>, L\u2019image th\u00e9orique ou l\u2019artiste face \u00e0 l\u2019Histoire.<\/em>
\nThis paper attempts to demonstrate the theoretical nature of artwork from Jane Alexander\u2019s Butcher boys. The formal indeterminacy of this artwork is related to the ambivalence as mentioned by Homi Bhabha about deconstructionist theory. The author underlines the influence of poststructuralist theory on postcolonial discourse and considers the hypothesis that the problem of ambivalence and the critic of temporality are the main ideas that get Butcher boys in the center of postcolonial deconstructionism. From this point of view, the artwork is analyzed in relation to Time, Memory and History in view of South Africa\u2019s historical events. The author demonstrates what he names the corporeity of memory as the support of making history.<\/p>\n

Olu Oguibe<\/strong>, Art Criticism and Africa. Thoughts toward a New Century<\/em>
\n“At the time, I had taken what many saw as a hardline, uncompromising position in arguing that the business of the state of art criticism in Africa should be left with the Africans. It was my opinion, too, that this business is one that ideally should be conducted in Africa. The very idea of discussing art criticism and Africa in London or New York did not seem particularly appropriate to me then. Neither does it now. It is, I believe, a reflection of the sad state of that continent and its leaders that five years on it has fallen on us again to speak about art criticism and Africa outside the continent.” Olu Oguibe. Keynote speech delivered at the International Association of Art Critics Conference, Courtauld Institute, London, November 1996.<\/p>\n

Anitra Nettleton<\/strong>, Modernism, Primitivism and the search for Modernity : A 20th Century quandary for Black South African artists.<\/em>
\nIn this article, Anitra Nettelton explores the ways in which the relationship between modernity and modernism played out in two different manifestations in successive generations of black South African modernist artists in the mid-20th Century, but do so against a broader background of a settler society. The two artists considered here are Sydney Kumalo and Lucky Sibiya, both of whom enjoyed some degree of commercial success within South Africa and abroad and both of whom died relatively young. They have been neglected as contributors to the history of modernism in South African art since 1994. The article addressed the contexts in which they were working to propose that the reasons for this neglect lay in the difficulties experience by black artists who espoused forms of modernism that arose out of primitivist readings of the art of Africa.<\/p>\n

Educational Turn in Curating – Interview with Koyo Kouoh<\/strong> (by Aliocha Imhoff and Kantuta Quir\u00f3s)<\/em>
\nThis interview looks at the increasing development of educational programmes in curatorial and exhibition practices in Africa. By addressing a new wave of curatorial practices, this interview asserts that curating increasingly operates as an expanded educational praxis. In Africa, this is evident in the increase of curatorial workshops, immaterial and research-based artistic projects, participative and collaborative museology and the emergence of curatorial courses across a range of disciplines. This interview with Koyo Kouh, founder of the Raw Material Company, center for art, knowledge and society in Dakar contributes a critical reflection in this on going curatorial discourse through its public forums.<\/p>\n<\/div>\n

\u00a0<\/p>\n

\n
\n

Biolines<\/span><\/strong><\/p>\n

\u00a0<\/p>\n<\/div>\n

Nana Adusei-Poku <\/strong>is Applied Research Professor in Cultural Diversity at Rotterdam University and Lecturer in Media Arts at the University of the Arts, Zurich. She was a scholarship doctoral student at Humboldt University, Berlin, working on the curatorial concept of the post-black in relation to contemporary Black artists, following degrees in African studies and gender studies at Humboldt University, and in media and com- munications at Goldsmiths College, University of London. She has been a visiting scholar at the University of Ghana, Legon; the London School of Economics; and Columbia University, New York. She published \u201cThe Challenge to Conceptualise the Multiplicity of Multiplicities\u2014Post-Black Art and Its Intricacies\u201d in Post-racial Imaginaries, a special issue of Dark Matter, among other articles, last year. Her research interests are in cul- tural studies, visual culture, Black diaspora art history, postcolonial and critical race theory.<\/div>\n
\n

Aliocha Imhoff<\/strong>\u00a0is a curator, based in Paris. Cofounder of the curatorial platform\u00a0le peuple qui manque – a people is missing<\/em>, he was curator of numerous events (exhibitions, international symposiums, festivals, retrospectives and cycles of screenings) : (recently)\u00a0A Thousand Years of NonLinear History<\/em>\u00a0(Centre Pompidou),\u00a0The Borderscape Room<\/em> (Le Quartier),\u00a0Make an Effort to Remember. Or, Failing That, Invent.<\/em>\u00a0(B\u00e9tonsalon – Centre d’art et de recherche, Paris),\u00a0The Artist as Ethnographer<\/em>\u00a0(mus\u00e9e du quai Branly, Centre Pompidou),\u00a0What is to be done ? Art\/film\/politics<\/em>\u00a0(Centre Pompidou, Palais de Tokyo,…),\u00a0Critical Atlas<\/em>\u00a0(Centre d’art du Parc Saint-Leger). He is currently PhD Candidate at Paris 1 Panth\u00e9on-Sorbonne in Philosophy of Art. His doctoral research is considering contemporary art as site for knowledge production and the uses of theoretical fictions in postconceptual performance. He is member of the network Resea
\nrch and Globalization led by Centre Pompidou \/ Mus\u00e9e National d’Art Moderne<\/em>.<\/p>\n<\/div>\n

Koyo Kouoh <\/strong>started Raw Material Company to stop complaining about the artistic environment in Dakar, but has not stop complaining. She is not a curator nor a writer, but makes exhibitions, publish books and helps others in the same craft. Her programs have included contemporary artists, thinkers, writers, activists, non-artists, designers, politicians, maniacs and chefs. She is a professional mother and is addicted to great food, shoes and dancing. She lives in Dakar only and nowhere else.<\/div>\n
\n

Docteur en histoire et critique des arts de l\u2019Universit\u00e9 Rennes II et dipl\u00f4m\u00e9 de l\u2019Institut National du Patrimoine de Paris (conservateur, sp\u00e9cialit\u00e9 Mus\u00e9es),\u00a0Malick Ndiaye<\/strong>\u00a0est postdoctorant du Labex Cr\u00e9ation, Arts et Patrimoine. Il est affili\u00e9 au Centre de Recherches sur les Arts et le Langage (CRAL. EHESS\/CNRS) et associ\u00e9 \u00e0 l\u2019Institut National du Patrimoine. Il a \u00e9t\u00e9 boursier dans le programme Art et Mondialisation de l\u2019Institut National d\u2019Histoire de l\u2019Art et collaborateur scientifique dans le cadre des trente ans du Centre Georges Pompidou. Sp\u00e9cialiste des arts contemporains, patrimoines africains et \u00e9tudes postcoloniales, il participe \u00e0 plusieurs rencontres internationales, collabore avec des revues et coordonne diff\u00e9rentes activit\u00e9s scientifiques autour de ces th\u00e9matiques.<\/p>\n<\/div>\n

Anitra Nettleton <\/strong>has been Chair and Director of the Centre for Creative Arts of Africa at the Wits Art Museum (University of the Witwatersrand, Johannesburg) since 2012. The Centre is a research entity, funded by the Andrew W Mellon Foundation. Anitra Nettleton was full Professor in the division of History of Art in the Wits School of Arts from 1998 to 2011. Her research has encompassed topics in historical and contemporary African arts. Her present research runs in two strands; the relationships between histories and modernity as manifested in beadwork and \u2018traditional\u2019 sculpture: a project on modernisms manifested in works by artists of the 1963\/4 \u201cAmadlozi\u201d exhibition and by rural artists of Limpopo and Mpumalanga in the 1970s and 1980s. She has curated several exhibitions. She supervises numerous PhD and MA candidates and has taught undergraduate courses extensively. She has had a NRFrating for 8 years and received numerous research awards. She has been an invited participant in colloquia from Osaka to London to Williamstown, MA. She is currently working on a curatorial project with the Fowler Museum at UCLA. She is on the editorial boards of World Art and African Studies.<\/div>\n
\u00a0<\/strong><\/div>\n
Olu Oguibe <\/strong>is an artist, poet, musician, theorist, curator and Professor at the Institute for African American Studies, University of Connecticut \u00a0and in the Departments of Art and Art History. He has taught at the School of Oriental and African Studies, and Goldsmiths College, both of the University of London, as well as the University of Illinois at Chicago and the University of South Florida where he held the Stuart Golding Endowed Chair in African art, as a senior fellow of the Vera List Center for Art and Politics at the New School, New York. Olu Oguibe has published several books and articles on art, among them The Culture Game (University of Minnesota Press, 2004), Uzo Egonu: An African Artist in the West (1995), and the edited volumes Reading the Contemporary: African Art from Theory to the Marketplace (1999) and Authentic\/ Ex-Centric: Conceptualism in Contemporary African Art (2000). His contributions have also appeared in key volumes such as the Art History and its Methods, The Visual Culture Reader, The Third Text Reader on Art, Culture and Theory, and Art in Theory 1900 – 2000: An Anthology of Changing Ideas . In addition he has organized art exhibitions for major museums and galleries including the Tate Gallery of Modern Art, London and the municipal museum of Mexico City. His own art has also been exhibited in museums and galleries around the world including the Smithsonian Institution in Washington, DC, and the Whitney Museum of American Art.<\/div>\n
\n

Chika Okeke-Agulu\u00a0<\/strong>is Associate Professor in the Department of Art & Archaeology and Center for African American Studies, Princeton University, and co-editor of Nka: Journal of Contemporary African Art. He is co-author of Contemporary African Art Since 1980 (Damiani, 2009), and co-editor of Who Knows Tomorrow (Konig, 2010) and Ezumeezu: Essays on Nigerian Art & Architecture, a Festschrift in Honour of Demas Nwoko (Goldline & Jacobs, 2012).<\/p>\n

John Peffer\u00a0<\/strong>is a specialist in modern African art and photography and Associate Professor of Art History at Ramapo College. He is the author of Art and the End of Apartheid (2009), co-editor of Portraiture and Photography in Africa (2013), and was co-editor of Critical Interventions: Journal of African Art History and Visual Culture (2007-2010). His current book project, Colored Photographs and White Weddings: A Study of Reception in South Africa, examines the vernacular uses of photography in South Africa with special emphasis on hand-colored wedding photographs in Soweto from the 1950s.<\/div>\n
<\/div>\n
\n

Sandy Prita Meier\u00a0<\/strong>is Assistant Professor of African art at the University of Illinois at Urbana-Champaign. Her research focuses on the politics of globalization and modernity in east Africa. She has a book in preparation titled Architecture of the Elsewhere: Swahili Port Cities, Empire and Desire<\/em> and has publications in African Arts, Nka: Journal of Contemporary African Art.<\/p>\n<\/div>\n<\/div>\n

Kantuta Quir\u00f3s <\/strong>is a cultural critic and curator, based in Paris. Her recent curatorial projects, within the curatorial platform\u00a0le peuple qui manque – a people is missing<\/em>, are dedicated to epistemocritical inquiries in knowledge and human sciences by contemporary artists. She co-edited (with Aliocha Imhoff) the book\u00a0G\u00e9oesth\u00e9tique <\/em>dedicated to spatial turn in art (Editions B42, 2013) and is currently PhD Candidate in Philosophy of Art (Universit\u00e9 Paris 1 Panth\u00e9on-Sorbonne). She worked for several cultural institutions (e.g. from 2007 to 2011 for D\u00e9partement Cin\u00e9ma du Mus\u00e9e National d\u2019Art Moderne – Centre Pompidou), was a lecturer at Paris VIII University and directs the seminar\u00a0Artist as Historian. Writing of History and Narrative Devices <\/em>at l\u2019Ecole Sup\u00e9rieure des Beaux-Arts de Nantes M\u00e9tropole. She\u00a0is member of the network Research and Globalization<\/em> led by Centre Pompidou \/ Mus\u00e9e National d’Art Moderne.<\/p>\n

Translations by Thierry Baudouin, Julienne Lemb, Isabelle Montin, Kantuta Quiros<\/p>\n<\/div>\n

\n
Thanks<\/strong><\/div>\n
<\/div>\n
Kantuta Quiros et Aliocha Imhoff would like to thank Yann Moulier-Boutang, Yves Citton, Anne Querrien, Anne Sauvagnargues, the editorial board, contributors, translators (Thierry Baudouin, Isabelle Montin, Julienne Lemb), Inculte Editions (J\u00e9r\u00f4me Schmidt and his team), Carlos Quintero, Carine Le Bihan, Michka Gorki, Marion Pacouil, Manola Antonioli, Claire Miguet (ADAGP), Deitch Projects, la revue Third Text, Diane Gross\u00e9 (Duke University Press), South Atlantic Quarterly, Museum of Ethnography Stockholm (Anne Murray), Malick Ndiaye, Kasereka Kavwahirehi, Christine Eyenne, Marie-Mathilde Burdeau, The Lords of Design ™ (Fr\u00e9d\u00e9ric Bortolotti, Fr\u00e9d\u00e9rique Stietel), le 104 (Vincent Guimas, La Nouvelle Fabrique), la Galerie Dufay-Bonnet, Marie Christine Bureau et Sylvie Rouxel (CNAM).<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Revue Multitudes n\u00b053-54, Editions Inculte. (Eds) Aliocha Imhoff et Kantuta Quir\u00f3s. Contributeurs : Olu Oguibe, Chika Okeke-Agulu, Sandy Prita Meier, John Peffer, Malick Ndiaye, Nana Adusei-Poku, Anitra Nettleton, Koyo Kouoh. Parution: F\u00e9vrier 2014<\/p>\n","protected":false},"author":1,"featured_media":831,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-1154","post","type-post","status-publish","format-standard","has-post-thumbnail"],"_links":{"self":[{"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/1154","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/comments?post=1154"}],"version-history":[{"count":0,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/posts\/1154\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media\/831"}],"wp:attachment":[{"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/media?parent=1154"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/categories?post=1154"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/en.lepeuplequimanque.org\/en\/wp-json\/wp\/v2\/tags?post=1154"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}