The editorial space of AFRIKADAA has always been thought as a shelter and freedom space. To show, to transmit, to speak, and to propose freely. We really thought so until the moment of creating this issue. To confront us with the institution of the art school in France. A system as many testimonies say â idyllic on the outside and pathetic on the inside.
The title of this special issue is Racism, silence, reshuffle⊠Where do art school stand? We never imagined that the silence demanded by art school would be imposed on contributors. Despite the importance of the work undertaken by the AFRIKADAA collective to create that shelter space in which was set up, follow up, support for the diplomas, theoretical and bibliographical help, etc. But also, by the fact of being a platform in more to discuss around the problems related to the pedagogical spaces of the art schools. We saw ourselves in front of the self-censorship. That one provoking mutism, withdrawal, anonymity, or linguistic detours. In spite of everything, we tried to work with that reality and to propose here an introduction to a work-in-progress. To be completely honest with you, this prevalent observation impacted the whole team. During collaborative review meetings, how many of us had to make a pause in the face of a succession of testimonies recounting facts that impacted the deepest part of our beings, or to see us say to ourselves, what is the point of doing that issue of we cannot get out of it any usefulness for the students, or for many profound changes in the pedagogical places in art. The release and feasibility of this issue was repeatedly questioned. And to take this editorial scope as a possible and ideal school in four spaces.
The first one concerning the faculty and the production of new pedagogies. The second one, rather with a role of care and benevolence to welcome the word of the students. A third one, relating the actions carried out by art school managements. And on state demand to create new teaching positions linked to decolonial and/or postcolonial studies, gender studies, among others. But also, by a more inclusive will of these pedagogical spaces â however still being far from being sufficient and impactful proposals. We propose to write a more inclusive history with alternative spaces such as the augmented library project â we would like to implement it in collaboration with students from several schools in France. And finally, a last space described as transgressive, in which we welcome off-topic/irrelevant and self-education approaches. This issue and the school thought here is far from being perfect but to be apprehended as the first step of a work, which we hope will be followed by concrete actions in art schools. But we are sure that editorial proposal will be found in all the art schools in France. And is a seed, moreover, from which will emerge actions, reflections, and debates for a better future of art schools.
UNE CRITIQUE DE L’EXPOSITION « SHĂHĂRAZADE, LA NUIT » AU PALAIS DE TOKYO FAIT EN MOINS D’1 SEMAINE PAR DEUX MEMBRES D’AFRIKADAA, LE MAXIMUM QUE L’ON PUISSE PROPOSER QUAND A ON RIEN Ă FAIRE. VRAIMENT. ILS PARLENT DE SALOPERIES, DE JOIES, DE TRAHISONS, D’ECHOES CARAĂBES LORSQUE L’ON TOURNE LE DOS Ă L’EN-NUIT. ET ILS SE MARRENT BIEN.
veille militant_es. Un glock coĂ»te 700 ⏠sans les balles. veille millitant_es. Suit le vent, nâait point peur, prend des risques flirt avec le meurtre, bombarde par coeur : « avant la noce, on aiguise les couteaux ». veille milliant_es. Vise tjrs la tĂȘte pour y loger un chaman. veille milliant_es. fait tomber la neige mĂȘme en pleinâ canicule volcan O mon bon souhait
approximativ. : « If youâre a white man you want paint a flower People see the painting of flowers they like Wow itâs a pretty ass of a flower itâs a motherfuck flower Nigger paint flowers it become slavery flower u know flower of Amistad something you know Bitch paint some flower it become a metaphor of a vagina itâs terrible u know be a white man grace you of universality, actually itâs natural way of naturally you making shit u know »
« WHITE MALE FLOWER
A pretty ass painting of flower.
Value derived from its formal attribute
NIGGER FLOWER
Signified for institutionalized racism and oppression
ANCIENNES USINES FAGOR MacLYON MUSĂE GUIMET JARDIN DU MUSĂE DES BEAUX-ARTS LUGDUNUM – MUSĂE & THĂĂTRES ROMAINS LPA RĂPUBLIQUE MUSĂE DâHISTOIRE DE LYON â GADAGNE MUSĂE DE FOURVIĂRE URDLA – VILLEURBANNE et PARC DE LA TĂTE DâOR, CHĂLET DU PARC
ma playlist : LP2 LA HONDA 19 FREEZE CORLEONE MAARLO SB LA F. JSX GAZO GREEN MONTANA SO LA LUNE KEN VYBZ CAMEO KILLI JOZZI KIMA KERCHAK ICE SPICE SAAMOU SKUU MALTY 667 x 669 2BZ ZOLA LALA &CE MENACE SANTANA LA FĂVE 137 SKWAA SKENG FELA 42DUGG KNUCKS COCHISE BIA $NOT YANN CLĂRY MinistĂšre A.M.E.R BU$HI KING VON 1MPLIK140 PLAYBOI CARTI NINA SIMONE MILES DAVIS JOEY DABA$$ AYA NAKAMURA 21 SAVAGE A$AP MOB !
4th EDITION OF THE INTERNATIONAL AFRICAN ART BOOK FAIR
From 19 to 22nd May 2022, Biennale DakâArt
The journal AFRIKADAA is thrilled to announce the 4th edition of the African Art Book Fair (AABF). This event will take place from 19 to 22 May 2022 within the framework of the 14th international Dakar biennale at Centre de ressources Ousmane SembĂšne, place du Souvenir Africain.
AABF: an artistic and innovative proposal
From 19 to 22 May 2022 in Dakar, lâAABF will host a large selection of international independent publishers and artists from different countries, ensuring diversity of current editorial practices. On the agenda : independent publishers, a place for debate and exchange through round tables, an exhibition area, performance program , workshops and a country of honor, Benin.
The African Art Book Fair is an art project conceived as an independent publishing fair with an exhibition and discussion forum that focuses on specific themes, related to publications on art, photography, design, experimental music, open culture and activism.
The African Art Book Fair also aims to reposition publishing as an artistic practice.
For four days, during the Dakar Biennale, the African Art Book Fair intends to offer a new editorial space focusing on a panorama of the most committed contemporary editorial practices in the production of qualitative and aesthetic publications on a wide range of subjects such as visual arts, cinema, photography, architecture, etc.
Recognizing and supporting qualitative and unique publishing practices, Crossing Disciplines is an integral part of this process which aims to emphasize new innovative editorial practices and the physicality of the book as a medium.
The 4th edition will focus on the exchange of new North / South editorial practices and will offer independent publishers and partners a meeting platform between professionals of the art world and the public, to promote exchanges as well as the circulation of knowledge from a perspective of contextualization of African works and artists. We will also question publication as a curatorial and artistic practice and the current state of art criticism.
During this event, the AABF focuses on the publisher, the most independent but also the most versatile actor in the art world. Many international publishers selected for the quality of their proposals will be presented during this 4th edition.
In this way, the AABF makes the work of international artists available to the public through affordable editions, while offering an alternative art space alongside biennials, galleries, and museums.
The AABF (African Art Book Fair) platform is positioned as an itinerant and polymorphic entity by participating in fairs, exhibitions, and biennials. The lack of critical production today threatens the transmission of contemporary art from Africa and its diasporas in terms of critical content, analysis, and aesthetics. The AABF will cross borders in order to confirm the unavoidable need to record in writing, to memorize, and to archive new and contemporary forms.
The African Art Book Fair, « Off la biennale de Dakar » is pleased to announce its collaboration with Benin as a country of honor within the framework of the exhibition-event « Art of Benin of yesterday and today, from restitution to revelation » and the publication of the double catalogue of the diptych exhibition « Contemporary Art of Benin » and « Royal Treasures of Benin » by Ăditions Hermann.
DAILY EVENTS
Exhibition : « Editing to not remain silent », curated by Pascale Obolo
Artists : Miguel Marajo, Willys Kezi, Rafiy Okefolahan, Macina Camara « Dakarchives exhibition » curated by Carole Kvasnevski et Abdou Diouf Ndiaye
Benin capsule exhibition : artists Euloge GlĂšlĂš and Didier Ahadji curated by Galerie Vallois
Lâartiste Benjamin Deguenon questionne dans sa performance âStop MA PA TA â, le pillage des matiĂšres premiĂšres africaines par les multinationales occidentales.
a performance by the artist Rafiy Okefolahan (15 min)
Give us back the god Ogou is a performance that reminds us how important it is for the Beninese people to have the God Ogou with them. To build itself, each nation needs to grasp its past, to read through these writings to know the path taken. The god Ogou is part of the vodun pantheon and has always accompanied the blacksmiths, mechanics, seamstresses, drivers, any craftsman.
BIOGRAPHY
Rafiy Okefolahan was born on January 7, 1979 in Porto Novo (Benin). He draws his creative strength from the cultural ferment of Africa. A nomadic artist, his journey has taken him from Togo to Nigeria and various West African countries, before he settled in Senegal for two years at the National School of Arts in Dakar.
6.30pm
âStop MA PA TA
Ma matiĂšre premiĂšre nâest pas ta matiĂšre premiĂšreâ
A performance by the artist Benjamin Deguenon (15 min)
The capitalist crisis contributes to making the African continent the coveted land of the great world powers. This neo-colonialism contributes to the destruction and ecological imbalance of African populations: deforestation, desertification, ocean pollution, coastal erosion…
The artist Benjamin Deguenon questions in his performance « Stop MA PA TA », the plundering of African raw materials by Western multinationals.
BIOGRAPHY
Benjamin Deguenon defines himself as a visual artist, expressing himself through drawing, installations and sculptures. Originally from Mono in Benin, he was born in 1982 in the former capital Abomey and now resides in Cotonou.
SUNDAY MAY 22, 2022
4.30pm
âMUR MĂR CAPILLAIREâ
A performance by MIGUEL MARAJO
BIOGRAPHY
Miguel Marajo is a visual artist who looks at the alienating uniformity of the aesthetic criteria of Western society. He plays with features to awaken an authenticity not subject to the canons of beauty. His work explores with caustic humor, poetry and lucidity the abundant richness of cultural relationships.
His creations are voluble, with features that are convoluted in a debauchery of lines, echoing the Afro hair of which mimic the free and natural character. Like a voluble plant, nature manifests itself in an underlying way, in a curved and rhythmic gesture, invading the totality of the space in a movement that seems to live under the impulse that the movement of the body generates while dancing.
Originally from Martinique where he began his artistic career, Miguel Marajo exhibited in several Caribbean islands before moving to Paris where he obtained a diploma of Fine Arts and a DEA in plastic arts at the Sorbonne. He has exhibited in several countries and now lives in the Paris region.