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La Biennale De Dakar Comme Projet De Coopération Et De Développement

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La Biennale De Dakar Comme Projet De Coopération Et De Développement 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 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 Iolanda Pensa, La Biennale de Dakar comme projet de coopération et de développement, 2011 [email protected] Pour texte et images de l'auteur Paternité-Partage des Conditions Initiales à l'Identique © Les auteurs et les artistes pour leurs images Font Gentium Basic 1.1 Victor Gaultney, 03/04/2008 © SIL Open Font License 1.1, 26/02/2006 Sommaire 5 Préface 7 Introduction 1. Objectifs et motivations scientifiques 8 – 2. Méthodologie et sources 10 – 3. Structure 12. 15 I. La Biennale de Venise 1. Le modèle historique de la Biennale de Venise 16 – 2. La première Biennale d'art de Dakar et le modèle de Venise 19 – 3. Ouverture et participation de l'Afrique à la Biennale de Venise 22 – 4. Le nouveau modèle de la Biennale de Dakar : Dak'Art devient une biennale d'art africain contemporain 31. 35 II. Les biennales africaines 1. Les caractéristiques des biennales 37 – 2. La Biennale du Caire 43 – 3. La Biennale de Cape Town 45 – 4. La Triennale de Luanda de 2007 58 – 5. La Triennale de Douala SUD- Salon Urbain de Douala 64. 75 III. Histoire de la Biennale de Dakar 1. La naissance de la Biennale de Dakar 77 – 2. La Biennale des Lettres de 1990 79 – 3. Dak'Art 1992 82 – 4. Dak'Art 1996 85 – 5. Dak'Art 1998 89 – 6. Dak'Art 2000 92 – 7. Dak'Art 2002 96 – 8. Dak'Art 2004 100 – 9. Dak'Art 2006 104 – 10. Dak'Art 2008 108 – 11. Dak'Art 2010 110 – 12. La Biennale de Dakar et Dakar 115 – 13. Dak'Art en fin de compte 126. 129 IV. Le paysage de l'art et l'Afrique 1. Une œuvre d'art a New Crossroads en Afrique du Sud 131 – 2. Vit et travaille à 135 – 3. Le catalogue des nationalités : prétendre représenter le monde 142 – 4. Diplomatie culturelle 145 – 5. Nationalités, étiquettes nationales et nationalismes 152 – 6. Dialogue interculturel 155 – 7. Interventions urbaines 160 – 8. Cartographier 162 – 9. Voyageurs et chercheurs 166 – 10. Paysages imaginaires 170. 175 V. L'étiquette "art contemporain africain" 1. Qu'est-ce que l'art contemporain africain ? 176 – 2. Balados de l'art contemporain africain 178 – 3. Le coté africain du monde 187 – 4. Comment justifier la promotion de l'art contemporain africain 189. 203 VI. Les réseaux 1. Chimurenga Library, un réseau de revues 205 – 2. Les professionnels de l'art contemporain africain 207 – 3. Les partenaires : collaborations et contributions 223 – 4. Toucher le grand public : Le rêve populiste de l'art 242 – 5. Médias, critiques et journalistes 245. 249 VII. Le projet comme système 1. Vendre la culture sous forme de projet 250 – 2. Repenser le système de l'art 252 – 3. Les institutions 258 – 4. Les artistes 266 – 5. Le projet 271. 3 Sommaire 287 Conclusions 1. Le réseau de la Biennale de Dakar 288 – 2. La Biennale de Dakar comme projet de coopération et de développement 290 – 3. Le système de l’art contemporain, les dynamiques spatiales, les politiques culturelles et le marché de l’art vus de Dakar 291 – 4. L’avenir de la Biennale de Dakar c’est son passé 302. 305 Sources 1. Recherches sur le terrain 305 – 2. Bibliographie 313. 341 Remerciements 4 Préface Global city lights in UnPlugged Ars as the scene of global conflict : Ars Electronica 2002, p. 144 Le monde de nuit, éclairé par l'électricité, est l’image la plus rassurante de notre paysage contemporain. La lumière éclaire et définit ce que l'on appelle l'Occident, qui domine la planète, tandis que le continent noir confirme sa nature sombre. D'une part la lumière, de l'autre l’obscurité. Mais où sont les téléphones portables ? Et les avions ? Qui est connecté à Internet en ce moment ? Qui parle avec qui ? Comme beaucoup des catégories critiques auxquelles nous sommes habitués, le monde de nuit nous plaît car il fonctionne en mode binaire : allumé/éteint, riche/pauvre, nous/eux, occidental/non-occidental, Nord du monde/Sud du monde, blanc/noir, dedans/dehors... Mais le monde est beaucoup plus imbriqué. 5 Introduction Why can't I posit Dakar as the world ? Disneyland posits itself as Disney World. Dakar is the world, alright. William Pope.L1 En partant de l'étude de Dak’Art, la biennale d’art contemporain africain du Sénégal, la recherche se propose d’explorer le système de l'art contemporain et, en particulier, la relation entre les arts visuels, les dynamiques spatiales, les politiques culturelles et le marché de l’art. Créée en 1990, la Biennale de Dakar est l'exposition d'art contemporain africain la plus importante du monde et celle qui peut vanter la plus ancienne tradition. Cette thèse entend montrer que la Biennale de Dakar est aussi et surtout un projet de coopération et de développement. Observer la manifestation de ce point de vue permet d'expliquer le système de l'art selon une démarche différente, en mesure de faire ressortir certaines caractéristiques parfois négligées. C’est précisément parce qu’il s'agit d'un projet de coopération et de développement que la biennale est d’un intérêt indiscutable, non seulement culturel, mais anthropologique, géographique et politique. Coopération, développement, territoire et représentation sont des notions qui forment la toile de fond de la recherche. Etant donné son importance non seulement artistique, la Biennale de Dakar permet d'observer de près le système de l'art contemporain ainsi que, plus en général, les visions imaginaires et les paysages liés à l'Afrique, l'ambiguïté des dualismes qui séparent le "nous" des "autres", la géopolitique internationale aussi bien que les lieux et les savoirs qui sont de plus en plus superposés et imbriqués. L'étude de la Biennale de Dakar contribue à évoquer la complexité des branchements et des représentations contemporaines. 1 William Pope.L, The Whole Entire World : Interview by Amy Horschak in Dak'Art 2006, Dakar, 2006, p. 382. 7 Introduction 1. Objectifs et motivations scientifiques Cette étude commence par la constatation que les grands événements internationaux sont des plateformes idéales pour observer la contemporanéité. Ce sont des lieux de rencontre et de coopération qui donnent de la visibilité à la production culturelle et qui ont une dimension aussi bien urbaine, que nationale et internationale2. La Biennale de Dakar – dite Dak'Art – est l'une de ces manifestations (avec vingt ans d'histoire, neuf éditions et environ 450 artistes exposés) et elle possède des caractéristiques qui lui sont spécifiques : elle a lieu en Afrique et elle se concentre sur l'art africain contemporain. Avec une approche anthropologique, cette thèse considère la Biennale de Dakar comme son terrain d'enquête. Mais quel est le terrain de la Biennale de Dakar ? À ce jour, la biennale a été analysée surtout comme étude de cas. Qu’il s’agisse de recherches universitaires, d’articles ou de publications, Dak'Art est prise en examen comme exemple, un exemple de biennale, de grande manifestation en Afrique3 ou d'autoreprésentation africaine4. La Biennale est généralement placée dans un discours sur les institutions culturelles, sur l'art, sur la question de l'identité ou sur l'Afrique. Certaines études récentes ont contribué à une meilleure connaissance des dynamiques internes de la manifestation5, de ses relations avec la scène artistique et avec la politique culturelle sénégalaise6 ; d'autres ont apporté une contribution qui peut être décrite comme émotive, et ont montré que la biennale représente une plateforme importante, une occasion qui demande à être valorisée7. Cette thèse propose de considérer les réseaux de Dak'Art comme principal terrain d'enquête. Cette approche se situe dans un cadre qui comprend une vaste littérature sur la mondialisation, les représentations, les Afriques, les branchements, le métissage, les lieux, les paysages et les relations entre anthropologie, urbanisme et art. La thèse se propose d’apporter une contribution centrée sur un événement spécifique – la Biennale de Dakar observée et étudiée de près tout au long d’une période de 12 ans – et de répondre à la question suivante : 2 Cf. Supports et circulations des savoirs et des arts en Afrique et dans le monde, Centre d'études africaines (Ceaf), EHESS, 2005. 3 Cf. Youma Fall, Les événements culturels en Afrique : enjeux politiques, sociaux et culturels, Thèse, Université d'Avignon et des Pays du Vaucluse, 2008 ; "Africultures", dossier Festivals et biennales d'Afrique : machine ou utopie ?, n. 73, (dir.) Cédric Vincent, L'Harmattan, Paris, 2008 ; "Africa e Mediterraneo", dossier Le industrie culturali in Africa, n. 47-48, 01/2004. 4 Cf. Fiona Mauchan, The African Biennale : Envisioning ‘Authentic’ African contemporaneity, Master of Arts, Stellenbosch University, 2009. 5 Cf. Yacouba Konaté, La biennale de Dakar : pour une esthétique de la création contemporaine africaine : tête à tête avec Adorno, L'Harmattan, Paris, 2009. 6 Cf. Elizabeth Harney, In Senghor’s Shadow : Art, Politics, and the Avant-Garde in Senegal, 1960–1995, Duke University Press, Durham & London, 2004. 7 Cf. Rasheed Araeen, DAK'ART – 1992-2002 in "Third Text", 17, n. 1, 2003, p. 93 ; Olu Oguibe, The Failure of DAK'ART ? in "Third Text", 18, n. 1, 2004, p. 83 ; Salah Hassan, Editorial in "NKA", 2002. 8 Introduction Comment le système de l’art contemporain, les dynamiques spatiales, les politiques culturelles et le marché de l’art se présentent-ils lorsqu’on les observe à partir de la Biennale de Dakar ? La question fondamentale de la recherche se focalise sur la dimension internationale de Dak'Art et exige une réponse à d’autres interrogations : 1.
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