Contemporary art of Africa reached a wider audience in the aftermath of the Magiciens de la Terre... more Contemporary art of Africa reached a wider audience in the aftermath of the Magiciens de la Terre exhibition (Paris 1989). This study of fourteen artists from Ivory Coast and Benin is based on ethnographic fieldwork in both countries (1997), during which I worked with several artists. In order to consider the reception of contemporary art of Africa in the European/North American art world, researches in London, Paris, and New York followed (1997, 1998). In Ivory Coast, I focused on a group of academically trained artists who belong to the Vohou Vohou movement which started in the early 1980s, and reached prominence in the 1990s. In Benin, I worked with artists who were not academically trained. One needs, however, to differentiate, as some had training as traditional artists, like the iron sculptures Calixte and Théodore Dakpogan, and adapted in the early 1990s their acquired skills to the creation of contemporary sculptures. Others, like Romuald Hazoumè and Georges Adéagbo, are self-trained. But they too interact with academically trained artists during residencies in various, West African or European countries. In the major part of the volume, I am presenting the artists: which materials they are working with, what are their stylistic characteristics, which ideas and reflections are informing their work. In a following chapter, I try to trace the artists’ trajectories, the connections they are using in their work, be it to traditional stylistic canons, materials, techniques, and concepts, or to European modernism. In doing so, I adopt a situated perspective from these local art worlds (Abidjan and Cotonou/Porto Novo), in order to show the complexity of these creative artistic practices. Other chapters of the volume deal with the notions of the art world (Becker’s sociological one and Danto’s cognitive). From an anthropological viewpoint I argue for a combination of both notions. Becker’s is important as to show the social, cultural, and economic aspects of the local art world. These aspects concern what is possible, or what is restricting the artistic endeavour. Danto’s concept needs an adaptation, in as far as it is not an embedding of the works of these artists within the grand narrative of Occidental art history. Rather, the notion is used in the plural, as the focus is on local, regional, and transcultural connections of artistic practices. I thereafter argue against a universalising, hegemonic narrative of the European/North American art world. The other notion, which is discussed in the volume, is the one of ‘contemporary African art.’ Instead of analysing the notion from a theoretical perspective, I follow the artists, how they explain their art and its possible African character. This approach shows a wide continuum between a clear African dimension and one that considers contemporary art practices as encompassing without any regional specification. The final chapter deals with reflections about a modern, contemporary anthropology of art. Such an anthropology does not restrict itself to the study of ethnic arts but considers all art as its subject. In particular, it has to deal with contemporary art in its present, multiple expressions on the basis of ethnographic fieldwork. It may participate in wider discussions about global art (although the notion is not dealt with in the volume), from locally situated gazes. Context is a major topic in that respect. While former studies in the anthropology of art contextualised works of art by considering their functions and meanings, context is here as well considered as related to artistic practices, the connections to other skills, techniques, materials, styles, or ideas which are visualised in the work of art. I would like to express my gratitude to the ‘Fonds zur Förderung der wissenschaftlichen Forschung’ (FWF) which enabled the fieldworks, archival researches, and the publication of the present volume
The Biennale of Dakar is considered as a particular site for examining South-South circulations o... more The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale's specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale's performance will lead to discussing several problems that affect South-South circulations of artworks. Résumé La Biennale de Dakar sert ici d'exemple pour examiner une circulation Sud-Sud d'oeuvres d'art. La Biennale ayant été définie à sa fondation comme une Biennale d'art africain contemporain, seuls les artistes africains et de la Diaspora africaine sont éligibles pour l'exposition centrale internationale. Néanmoins, plusieurs facteurs in...
Dans cette contribution, nous analysons a partir de deux exemples l'idee d'espace culture... more Dans cette contribution, nous analysons a partir de deux exemples l'idee d'espace culturel intermediaire comme lieu privilegie pour toutes negociations culturelles. Dans un cas, nous analysons la dualite entre education interculturelle et nationale de l'enseignement autrichien, avec l'Etat comme contexte analytique. L'autre exemple, le monde de l'art africain, est considere selon deux contextes, d'une part celui du marche et d'autre part celui de la conception d'une communaute ideelle globale des artistes. Ainsi, un tel interstice, champs de negociations culturelles, n'est pas, par sa structure, egalitaire et reciproque, mais depend fondamentalement des relations de pouvoir de chacun de ces contextes
The analysis of the relationship between contemporary art of African artists and the world of art... more The analysis of the relationship between contemporary art of African artists and the world of art is based upon three recent concepts of the anthropology of art. The A. argues that the conscious perception of such art productions conveys insights into the phenomenon of globalism and opens new dimensions for the anthropology of art in its relation to the overall discipline of social and cultural anthropology.
La tradition millenariste et messianique en islam est connue sous le nom de mahdisme. Le mahdi, &... more La tradition millenariste et messianique en islam est connue sous le nom de mahdisme. Le mahdi, " le bien guide ", est un descendant du Prophete Muhammad qui, en tant que chef pre-designe et infaillible, " se levera " pour lancer une grande transformation sociale, en vue de restaurer la purete des temps premiers en placant toutes choses sous une direction divine. Le messie islamique incarne les aspirations de ses adeptes a la restauration de la purete de la foi qui apportera une direction veridique et non corrompue a toute l'humanite, creant un ordre social juste et un monde libere de l'oppression pour un temps qui precedera la Derniere Heure. Le mahdisme a a voir avec la question de la direction legitime de la communaute, et donc du pouvoir politique ; il est un des recours les plus puissants qu'offre la tradition musulmane pour legitimer un dirigeant du point de vue religieux et politique, mais aussi pour legitimer une rebellion contre le pouvoir et...
The present economic and financial crises do not seem to particularly influence the global art ma... more The present economic and financial crises do not seem to particularly influence the global art market of contemporary art. In an attempt to understand this apparent opposition, I adopt a macro perspective, combining my own research ventures in Dakar and Vienna with general art market studies. I argue that this market is a special representation of millennial capitalism (Comaroff and Comaroff 2001). The global art market puts in place an organization of diversity that allows a high flexibility in including specific centers and marginalizing others, as well as a special focus on a globally acting group of “ultra high net worth” individuals. Striking features are the concentration of capital flows to a few major centers, the constitution of complex, transnational networks, the dominant logics for each market field (gambling, glamour, moral economy), and the diversification of the commodity character of the work of art.
In this chapter, the Biennale of Dakar is considered as a “Field-Configuring Event.” Fillitz argu... more In this chapter, the Biennale of Dakar is considered as a “Field-Configuring Event.” Fillitz argues that a localized study of the Biennale is required in order to understanding the multiple tasks and strategies of the Biennale in the context of the difficult circulations of artworks, artists and art world professionals in Africa, or the aspirations for communication and exchange among these art world actors. The first part of the chapter discusses the production of symbolic capital. It is connected to the nomination of selection committees, the importance that is locally accorded to the space of the main venue (the international exhibition), and finally to the role of the prizes that are awarded. The second part of the chapter then examines the Biennale as constituted of several spaces of encounter and network building.
The Biennale of Dakar is considered as a particular site for examining South-South circulations o... more The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale’s specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale’s performance will lead to discussing several problems that affect South-South circulations of artworks.
Contemporary art of Africa reached a wider audience in the aftermath of the Magiciens de la Terre... more Contemporary art of Africa reached a wider audience in the aftermath of the Magiciens de la Terre exhibition (Paris 1989). This study of fourteen artists from Ivory Coast and Benin is based on ethnographic fieldwork in both countries (1997), during which I worked with several artists. In order to consider the reception of contemporary art of Africa in the European/North American art world, researches in London, Paris, and New York followed (1997, 1998). In Ivory Coast, I focused on a group of academically trained artists who belong to the Vohou Vohou movement which started in the early 1980s, and reached prominence in the 1990s. In Benin, I worked with artists who were not academically trained. One needs, however, to differentiate, as some had training as traditional artists, like the iron sculptures Calixte and Théodore Dakpogan, and adapted in the early 1990s their acquired skills to the creation of contemporary sculptures. Others, like Romuald Hazoumè and Georges Adéagbo, are self-trained. But they too interact with academically trained artists during residencies in various, West African or European countries. In the major part of the volume, I am presenting the artists: which materials they are working with, what are their stylistic characteristics, which ideas and reflections are informing their work. In a following chapter, I try to trace the artists’ trajectories, the connections they are using in their work, be it to traditional stylistic canons, materials, techniques, and concepts, or to European modernism. In doing so, I adopt a situated perspective from these local art worlds (Abidjan and Cotonou/Porto Novo), in order to show the complexity of these creative artistic practices. Other chapters of the volume deal with the notions of the art world (Becker’s sociological one and Danto’s cognitive). From an anthropological viewpoint I argue for a combination of both notions. Becker’s is important as to show the social, cultural, and economic aspects of the local art world. These aspects concern what is possible, or what is restricting the artistic endeavour. Danto’s concept needs an adaptation, in as far as it is not an embedding of the works of these artists within the grand narrative of Occidental art history. Rather, the notion is used in the plural, as the focus is on local, regional, and transcultural connections of artistic practices. I thereafter argue against a universalising, hegemonic narrative of the European/North American art world. The other notion, which is discussed in the volume, is the one of ‘contemporary African art.’ Instead of analysing the notion from a theoretical perspective, I follow the artists, how they explain their art and its possible African character. This approach shows a wide continuum between a clear African dimension and one that considers contemporary art practices as encompassing without any regional specification. The final chapter deals with reflections about a modern, contemporary anthropology of art. Such an anthropology does not restrict itself to the study of ethnic arts but considers all art as its subject. In particular, it has to deal with contemporary art in its present, multiple expressions on the basis of ethnographic fieldwork. It may participate in wider discussions about global art (although the notion is not dealt with in the volume), from locally situated gazes. Context is a major topic in that respect. While former studies in the anthropology of art contextualised works of art by considering their functions and meanings, context is here as well considered as related to artistic practices, the connections to other skills, techniques, materials, styles, or ideas which are visualised in the work of art. I would like to express my gratitude to the ‘Fonds zur Förderung der wissenschaftlichen Forschung’ (FWF) which enabled the fieldworks, archival researches, and the publication of the present volume
The Biennale of Dakar is considered as a particular site for examining South-South circulations o... more The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale's specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale's performance will lead to discussing several problems that affect South-South circulations of artworks. Résumé La Biennale de Dakar sert ici d'exemple pour examiner une circulation Sud-Sud d'oeuvres d'art. La Biennale ayant été définie à sa fondation comme une Biennale d'art africain contemporain, seuls les artistes africains et de la Diaspora africaine sont éligibles pour l'exposition centrale internationale. Néanmoins, plusieurs facteurs in...
Dans cette contribution, nous analysons a partir de deux exemples l'idee d'espace culture... more Dans cette contribution, nous analysons a partir de deux exemples l'idee d'espace culturel intermediaire comme lieu privilegie pour toutes negociations culturelles. Dans un cas, nous analysons la dualite entre education interculturelle et nationale de l'enseignement autrichien, avec l'Etat comme contexte analytique. L'autre exemple, le monde de l'art africain, est considere selon deux contextes, d'une part celui du marche et d'autre part celui de la conception d'une communaute ideelle globale des artistes. Ainsi, un tel interstice, champs de negociations culturelles, n'est pas, par sa structure, egalitaire et reciproque, mais depend fondamentalement des relations de pouvoir de chacun de ces contextes
The analysis of the relationship between contemporary art of African artists and the world of art... more The analysis of the relationship between contemporary art of African artists and the world of art is based upon three recent concepts of the anthropology of art. The A. argues that the conscious perception of such art productions conveys insights into the phenomenon of globalism and opens new dimensions for the anthropology of art in its relation to the overall discipline of social and cultural anthropology.
La tradition millenariste et messianique en islam est connue sous le nom de mahdisme. Le mahdi, &... more La tradition millenariste et messianique en islam est connue sous le nom de mahdisme. Le mahdi, " le bien guide ", est un descendant du Prophete Muhammad qui, en tant que chef pre-designe et infaillible, " se levera " pour lancer une grande transformation sociale, en vue de restaurer la purete des temps premiers en placant toutes choses sous une direction divine. Le messie islamique incarne les aspirations de ses adeptes a la restauration de la purete de la foi qui apportera une direction veridique et non corrompue a toute l'humanite, creant un ordre social juste et un monde libere de l'oppression pour un temps qui precedera la Derniere Heure. Le mahdisme a a voir avec la question de la direction legitime de la communaute, et donc du pouvoir politique ; il est un des recours les plus puissants qu'offre la tradition musulmane pour legitimer un dirigeant du point de vue religieux et politique, mais aussi pour legitimer une rebellion contre le pouvoir et...
The present economic and financial crises do not seem to particularly influence the global art ma... more The present economic and financial crises do not seem to particularly influence the global art market of contemporary art. In an attempt to understand this apparent opposition, I adopt a macro perspective, combining my own research ventures in Dakar and Vienna with general art market studies. I argue that this market is a special representation of millennial capitalism (Comaroff and Comaroff 2001). The global art market puts in place an organization of diversity that allows a high flexibility in including specific centers and marginalizing others, as well as a special focus on a globally acting group of “ultra high net worth” individuals. Striking features are the concentration of capital flows to a few major centers, the constitution of complex, transnational networks, the dominant logics for each market field (gambling, glamour, moral economy), and the diversification of the commodity character of the work of art.
In this chapter, the Biennale of Dakar is considered as a “Field-Configuring Event.” Fillitz argu... more In this chapter, the Biennale of Dakar is considered as a “Field-Configuring Event.” Fillitz argues that a localized study of the Biennale is required in order to understanding the multiple tasks and strategies of the Biennale in the context of the difficult circulations of artworks, artists and art world professionals in Africa, or the aspirations for communication and exchange among these art world actors. The first part of the chapter discusses the production of symbolic capital. It is connected to the nomination of selection committees, the importance that is locally accorded to the space of the main venue (the international exhibition), and finally to the role of the prizes that are awarded. The second part of the chapter then examines the Biennale as constituted of several spaces of encounter and network building.
The Biennale of Dakar is considered as a particular site for examining South-South circulations o... more The Biennale of Dakar is considered as a particular site for examining South-South circulations of artworks. Being the biennial of contemporary African art, only artists from Africa and its Diaspora are eligible for its central, international exhibition. Several factors, however, are strongly influencing these selections, among others the Biennale’s specific selection procedures, as for instance the appointment of the members of the selection committee. Considering critical voices of local artists about the Biennale’s performance will lead to discussing several problems that affect South-South circulations of artworks.
This book immerses the reader within several fields of anthropological inquiries of art, and may ... more This book immerses the reader within several fields of anthropological inquiries of art, and may be considered as encouraging further researches in the anthropology of art. The overall framework for the ethnographic presentations in the various chapters is the consideration of art practices, art institutions, and discourses on art in the postcolonial present. By this we mean that there can no more be universals, neither for defining contemporary art, nor regarding categories such as ‘the’ art world or ‘the’ art market. Both from an anthropological vantage, as well as from the present-day realities, the field of art is constituted of the diversity of interconnected local and/or regional art worlds and art markets at a global level. Two main objectives structure this volume: (a) to place researches in the anthropology of art within the wider context of other disciplinary art discourses, and (b) to position particular ethnographic studies within several major fields of research in the anthropology of art. Considering the plethora of art practices – in time and space perspectives –, and the multiple approaches to the subject, we are convinced that multidisciplinary dialogues are more than ever mandatory. Regarding the anthropology of art, it appears, for instance, of utmost importance to clearly articulate which images are being dealt with. This is apparent with Descola`s anthropology of figuration, as much as with Belkaïd-Neri’s chapter within the framework of world art studies. Favero’s examination of new digital technologies in the production of images leads into a field that is yet quite under-researched (in many disciplines), but is likely to become most prominent in the near future. The various ethnographies related to art biennials (Mayer and Fillitz), to art markets of contemporary art and collectors (Plattner, de Cordova, Tinius, and Van der Grijp) are valuable insofar as they inform about the specific nature of such institutions and actors, and largely refrain from general considerations. Drawing these lines of reflections further, themes like art fairs, the interactions between gallerists-artists-collectors, the present-day heterogeneity of collectors, or the concept of ‘awkward art’ would require more anthropological attention. In the context of dialogues between contemporary art and anthropology, experiences like those made by Khatchikian are valuable, as they also show concrete examples about difficulties in the realm of collaboration. Flynn’s and Sansi’s chapters further problematize the category of collaboration in different ways, the former on the basis of concrete artistic practices, the latter in discussing another shift which is occurring in art discourses, the calls for a new non-relational art. Finally, we would like to stress a thematic that has not specifically been highlighted in this book, but is emphasized in Flynn’s chapter, contemporary South-South networks and circulations – of ideas, techniques, artworks, artists, or curators. If the anthropology of art was for some time marginal within mainstream anthropology, the impetus it received in the 1990s diversified its topics of research, and together with following works, they all contributed in transferring it into another central sub-discipline of anthropology. Within the anthropology of the contemporary, the anthropology of art provides from its perspectives valuable ethnographic insights into local, regional, transcultural and global interconnections of the present worlds.
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Two main objectives structure this volume: (a) to place researches in the anthropology of art within the wider context of other disciplinary art discourses, and (b) to position particular ethnographic studies within several major fields of research in the anthropology of art. Considering the plethora of art practices – in time and space perspectives –, and the multiple approaches to the subject, we are convinced that multidisciplinary dialogues are more than ever mandatory. Regarding the anthropology of art, it appears, for instance, of utmost importance to clearly articulate which images are being dealt with. This is apparent with Descola`s anthropology of figuration, as much as with Belkaïd-Neri’s chapter within the framework of world art studies. Favero’s examination of new digital technologies in the production of images leads into a field that is yet quite under-researched (in many disciplines), but is likely to become most prominent in the near future.
The various ethnographies related to art biennials (Mayer and Fillitz), to art markets of contemporary art and collectors (Plattner, de Cordova, Tinius, and Van der Grijp) are valuable insofar as they inform about the specific nature of such institutions and actors, and largely refrain from general considerations. Drawing these lines of reflections further, themes like art fairs, the interactions between gallerists-artists-collectors, the present-day heterogeneity of collectors, or the concept of ‘awkward art’ would require more anthropological attention. In the context of dialogues between contemporary art and anthropology, experiences like those made by Khatchikian are valuable, as they also show concrete examples about difficulties in the realm of collaboration. Flynn’s and Sansi’s chapters further problematize the category of collaboration in different ways, the former on the basis of concrete artistic practices, the latter in discussing another shift which is occurring in art discourses, the calls for a new non-relational art. Finally, we would like to stress a thematic that has not specifically been highlighted in this book, but is emphasized in Flynn’s chapter, contemporary South-South networks and circulations – of ideas, techniques, artworks, artists, or curators.
If the anthropology of art was for some time marginal within mainstream anthropology, the impetus it received in the 1990s diversified its topics of research, and together with following works, they all contributed in transferring it into another central sub-discipline of anthropology. Within the anthropology of the contemporary, the anthropology of art provides from its perspectives valuable ethnographic insights into local, regional, transcultural and global interconnections of the present worlds.