Eiffage in Senegal Leading the Way to a Future with a Human Perspective
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Circular Economy in Africa-EU Cooperation
Circular Economy in Africa-EU Cooperation Country Report Senegal Written by November - 2020 EUROPEAN COMMISSION Directorate-General for Environment Directorate F – Global Sustainable Development Unit F2 - Bilateral & Regional Environmental Cooperation Contact: Gaëtan Ducroux E-mail: [email protected] European Commission B-1049 Brussels EUROPEAN COMMISSION Circular Economy in Africa-EU Cooperation Country Report Senegal Authors: Bonnaire, S.M.; Jagot, J.; Spinazzé, C.; Potgieter, J.E.; Rajput, J.; Hemkhaus, M.; Ahlers, J.; Koehler, J.; Van Hummelen, S. & McGovern, M. Acknowledgements We acknowledge the valuable contribution of several co-workers from within the four participating institutions, as well as the feedback received from DG Environment and other DG’s of the European Commission as well as the Members of the EU delegation to Senegal. Preferred citation Bonnaire, S.M.; Jagot, J.; Spinazzé, C. (2020) Circular economy in the Africa-EU cooperation - Country report for Senegal. Country report under EC Contract ENV.F.2./ETU/2018/004 Project: “ “Circular Economy in Africa-Eu cooperation”, Trinomics B.V., ACEN, adelphi Consult GmbH and Cambridge Econometrics Ltd. In association with: LEGAL NOTICE This document has been prepared for the European Commission however it reflects the views only of the authors, and the Commission cannot be held responsible for any use which may be made of the information contained therein. More information on the European Union is available on the Internet (http://www.europa.eu). Luxembourg: Publications Office of the European Union, 2020 PDF ISBN 978-92-76-26828-4 doi:10.2779/042060 KH-06-20-056-EN-N © European Union, 2020 The Commission’s reuse policy is implemented by Commission Decision 2011/833/EU of 12 December 2011 on the reuse of Commission documents (OJ L 330, 14.12.2011, p. -
Contemporary Art Biennials in Dakar and Taipei
Geogr. Helv., 76, 103–113, 2021 https://doi.org/10.5194/gh-76-103-2021 © Author(s) 2021. This work is distributed under the Creative Commons Attribution 4.0 License. supported by Obscuring representation: contemporary art biennials in Dakar and Taipei Julie Ren Department of Geography, University of Zurich, Zurich, Switzerland Correspondence: Julie Ren ([email protected]) Received: 20 December 2019 – Revised: 19 February 2021 – Accepted: 22 February 2021 – Published: 7 April 2021 Abstract. There has been a proliferation of contemporary art biennials in the past 20 years, especially in cities outside of North America and Europe. What biennials represent to their host cities and what is represented at these events reveal a great deal about the significance of this proliferation. The biennial platform entails formalistic notions of representation with regards to place branding or the selection of artists as emissaries of countries where they were been born, reside, or to which they have some kind of affinity. This notion of representation is obscured considering the instability of center and periphery, artists’ biographies, practices, and references. In contradistinction to the colonial world fair, the biennial thwarts the notion or possibility of “authentic” representation. The analysis incorporates works shown at the 2018 biennials in Dakar and Taipei, interviews with artists, curators, and stakeholders, and materials collected during fieldwork in both cities. 1 Introduction Dak’Art is the largest international art festival on the conti- nent and is intended as a showcase for contemporary African In Christian Nyampeta’s video artwork “Life After Life,” he art, meaning that only artists of the continent and the African conveys a story “about a man who dies and is accidentally diaspora exhibit (Nwezi, 2013; Filitz, 2017). -
Souleymane Bachir Diagne on Translation & Restitution
IN THE FOREGROUND: CONVERSATIONS ON ART & WRITING A Podcast from the Research and Academic Program (RAP) at the Clark Art Institute “A Gesture of Reciprocity”: Souleymane Bachir Diagne on Translation & Restitution Season 2, Episode 3 Recording date: OctoBer 14, 2020 Release date: FeBruary 23, 2021 Transcript Caro Fowler Welcome to In the Foreground: Conversations on Art & Writing. I am Caro Fowler, your host and director of the Research and Academic Program at the Clark Art Institute in Williamstown, Massachusetts. In this series of conversations, I talk with art historians and artists about what it means to write history and make art, and the ways in which making informs how we create not only our world, But also ourselves. In this episode, I speak with Lorraine O’Grady, an artist and critic whose installations, performances, and writings address issues of hyBridity and Black female suBjectivity, particularly the role these have played in the history of modernism. Lorraine discusses her long standing research into the relation of Charles Baudelaire and Jeanne Duval, the omissions of art historical scholarship and intersectional feminism, and the entanglement of personal and social histories in her work. Souleymane Bachir Diagne The translator, when she's dealing with two languages, and trying to give clarity to a meaning from a language to another language, that is this way of putting them in touch, to create an encounter between these two languages is an ethical gesture, it is a gesture of reciprocity. Caro Fowler Thank you for joining me today, Bachir. It's really nice to talk to you. -
Pdg Groupe Crestone
Bimestriel d’informations du Port Autonome de Dakar N°24 Avril - Mai 2019 JOURNÉES PORTUAIRES ET MARITIMES Aboubacar Sedikh BEYE : « la réussite de la vision stratégique demande l’accompagnement de tous » MONSIEUR SOURAKHATA TIRERA PDG GROUPE CRESTONE « En 2018 il y a eu 480.000 conteneurs en provenance de YIWU dont 13000 pour le Sénégal » « Appui aux fédérations sportives, Le PAD reçoit une délégation de Salon International de le PAD en modèle » la ville YIWU en Chine l’Agriculture de paris (sia) 2019 "Support to the sport organiza- DAP (Dakar Autonomous Port) « Le PAD toujours au tions, PAD (Dakar Autonomous welcomes a delegation from rendez-vous » Port) as a model’’ Yiwu city in China “ PAD is always present” Sommaire Contents EDITO : ............................................................. 4-5 EDITOR’S LETTER : ....................................................... 4-5 la santé par le sport Health through sport TELEX : ................................................................... 6 TELEX : .......................................................................................... 6 Appui à la politique sportive A support to the sport policy ACTUALITES : ............................................7...18 CURRENT DEVELOPMENTS : .............................7...18 - Visite au port de Dakar - A Visit at the port of Dakar by the des autorités de la ville de Yiwu authorities of Yiwu town - 1ére Edition des Journées Portuaires - First Edition of naval and port days (NPD) et Maritimes (J.P.M) - Participation of the port to the -
Senegal Country Development Cooperation Strategy Original Dates: April 2, 2012 – April 2, 2017 Extended Through: April 2, 2019 Extended On: May 4, 2017
SENEGAL COUNTRY DEVELOPMENT COOPERATION STRATEGY ORIGINAL DATES: APRIL 2, 2012 – APRIL 2, 2017 EXTENDED THROUGH: APRIL 2, 2019 EXTENDED ON: MAY 4, 2017 May 2017 This publication was produced by the United States Agency for International Development. It was prepared by USAID/Senegal. SENEGAL COUNTRY DEVELOPMENT COOPERATION STRATEGY ORIGINAL DATES: APRIL 2, 2012 – APRIL 2, 2017 EXTENDED THROUGH: APRIL 2, 2019 EXTENDED ON: MAY 4, 2017 1 CONTENTS CONTENTS ................................................................................................................................................. 2 ACRONYMS ................................................................................................................................................ 3 1. DEVELOPMENT CONTEXT, CHALLENGES AND OPPORTUNITIES ....................................... 5 2. USAID/SENEGAL DEVELOPMENT OBJECTIVES ........................................................................ 10 3. MONITORING, EVALUATION AND LEARNING ........................................................................ 39 ANNEX A. M&E TABLE .......................................................................................................................... 43 2 ACRONYMS Abbreviations and acronyms have been kept to a minimum in the text of this document. Where abbreviations or acronyms have been used, they are accompanied by their full expression the first time they appear, unless they are commonly used and generally understood abbreviations such as NGO, kg., etc. However, in order to -
Call for Applications for the International Exhibition of the Fourteenth Edition of the Biennial of Dakar Dak’Art June-July 2020
REPUBLIC OF SENEGAL Ministry of Culture and Communication Biennial of contemporary african Art CALL FOR APPLICATIONS FOR THE INTERNATIONAL EXHIBITION OF THE FOURTEENTH EDITION OF THE BIENNIAL OF DAKAR DAK’ART JUNE-JULY 2020 ARTISTIC PARTICIPATION ARRANGEMENTS The international Exhibition of the fourteenth edition of the Biennial of contemporary african Art is open only to african artists and the diaspora. Candidates must submit a completed application form and the required documents, as described below, on USB flash drive to be sent by e-mail to [email protected] and by post before September 15th 2019 to the General Secretariat of the Biennial of Dakar, located at 19 avenue Hassan II 1st Floor. BP: 3865. Dakar Senegal. This file must include: 1. The completed application form; 2. A biography of up to 15 lines in English and French; 3. A detailed curriculum vita; 4. Two recent high-resolution pictures; 5. A scanned copy of the valid passport until 31st December 2020 6. Five high-definition reproductions (300 dpi for 30×50 cm) of works dating from October 2018 (artist’s property) on paper or digital (photographs, DVDs, CDs). The name of the photographer is required, as is the date of creation; 7. a text presenting the works and their technical data (references of the parts, title of the work, dimensions, materials, value of the work and insurance, addresses of places of origin and delivery of works at the end of The biennial 2020); 8. Articles in art papers and critical texts on the artist’s work, one or more expert testimonials recognized (optional). -
DAK'art 2016 BIENNALE of DAKAR May, 3
DAK’ART 2016 BIENNALE of DAKAR May, 3 – June, 2 — 2016 12th Edition of the Dakar Biennale « The City in the Blue Daylight » Simon Njami, Artistic Director PRESS RELEASE CONTENT 1. What Is Dak’art 2. The City In The Blue Daylight 3. Who’s Simon Njami 4. The Program of Dak’art 2016 5. Participating artists 6. Contact 1. WHAT IS DAK’ART Dak’Art, The Dakar Biennale, is the first and the major international Art event dedicated to the Contemporary African creation. Initiated in 1996 by the Republic of Senegal, the biennale is organized by the Ministry of Culture and Communication. Its 12th edition will take place from May 3, to July 11, 2016. The aims of Dak’Art are to offer the African artists a chance to show their work to a large and international audience, and to elaborate a dis- course in esthetic, by participating to the conceptualization of theorical tools for analyse and appropriation of the global art world. Mahmadou Rassoul Seydi is the General Secretary of Dak’Art. Simon Njami, writer and independant curator, is the Artistic Director of the 12th Edition of the Dakar Biennale. As a departure for Dak’Art 2016, with the title « The City in the Blue Daylight », Simon Njami chose an extract from a poem written by Leopold Sedar Senghor : « Your voice tells us about the Republic that we shall erect the City in the Blue Daylight In the equality of sister nations. And we, we answer: Presents, Ô Guélowâr ! » Those verses inspire Simon Njami’s ambition for the Biennale : to make Dak’Art a « new Bandung for Culture ». -
Anthrovision, Vol. 7.1 | 2019, « Aesthetic Encounters » [En Ligne], Mis En Ligne Le 30 Décembre 2019, Consulté Le 21 Janvier 2021
Anthrovision Vaneasa Online Journal Vol. 7.1 | 2019 Aesthetic Encounters The Politics of Moving and (Un)settling Visual Arts, Design and Literature Thomas Fillitz (dir.) Édition électronique URL : http://journals.openedition.org/anthrovision/4332 DOI : 10.4000/anthrovision.4332 ISSN : 2198-6754 Éditeur VANEASA - Visual Anthropology Network of European Association of Social Anthropologists Référence électronique Thomas Fillitz (dir.), Anthrovision, Vol. 7.1 | 2019, « Aesthetic Encounters » [En ligne], mis en ligne le 30 décembre 2019, consulté le 21 janvier 2021. URL : http://journals.openedition.org/anthrovision/4332 ; DOI : https://doi.org/10.4000/anthrovision.4332 Ce document a été généré automatiquement le 21 janvier 2021. © Anthrovision 1 SOMMAIRE Introduction: Politics of Moving and (Un)settling Visual Arts Thomas Fillitz Marketing African and Oceanic Art at the High-end of the Global Art Market: The Case of Christie’s and Sotheby’s Tamara Schild Dak’Art Off. Between Local Art Forms and Global Art Canon Discourses. Thomas Fillitz Returning to Form: Anthropology, Art and a Trans-Formal Methodological Approach Alex Flynn et Lucy Bell A Journey from Virtual and Mixed Reality to Byzantine Icons via Buddhist Philosophy Possible (Decolonizing) Dialogues in Visuality across Time and Space Paolo S. H. Favero Value, Correspondence, and Form: Recalibrating Scales for a Contemporary Anthropology of Art (Epilogue) Jonas Tinius Anthrovision, Vol. 7.1 | 2019 2 Introduction: Politics of Moving and (Un)settling Visual Arts Thomas Fillitz 1 Short versions of the following articles were presented at the panel ‘Aesthetic Encounters: The Politics of Moving and (Un)settling Visual Arts, Design and Literature,’ which Paula Uimonen (Stockholm University) and I organized at the fifteenth biennial conference of the European Association of Social Anthropologists in Stockholm 2018. -
Dak'art Biennale Has Taken Place Bi-Annually
Dak’Art Biennale – Analysis of the Critiques 1993–2016 Master’s Thesis Isalee Jallow Faculty of Arts: Area and Cultural studies Spring 2019 Tiedekunta – Fakultet – Faculty Koulutusohjelma – Utbildningsprogram – Degree Programme Humanistinen tiedekunta Filosofian maisteri Opintosuunta – Studieinriktning – Study Track Alue -ja kulttuurintutkimus Tekijä – Författare – Author Isalee Jallow Työn nimi – Arbetets titel – Title Dak’Art Biennale–Analysis of the Critique 1993–2016 Työn laji – Arbetets art – Level Aika – Datum – Month and year Sivumäärä– Sidoantal – Number of pages Pro-gradu -tutkielma 7.5.2019 44 Tiivistelmä – Referat – Abstract Pro gradu -tutkielmassani analysoin Dak’Art Biennaalista kirjoitettuja arvosteluja ja kritiikkejä. Dak’Art Biennale on Senegalissa, Dakarissa järjestettävä suuri ja kansainvälinen afrikkalaisen nykytaiteen näyttely. Biennaali on vuodesta 1966 esittänyt erilaista afrikkalaista taidetta aina kirjallisuudesta visuaaliseen taiteeseen. Vuodesta 1996 Dak’Art Biennaali on keskittynyt afrikkalaisen nykytaiteen esittämiseen. 2000-luvun puolella Biennaali saavutti kansainvälisen lehdistön huomion ja on sitä myötä herättänyt paljon keskustelua taidemaailmassa. Biennaali julistaa pan-afrikkalaista ideologiaa ja pyrkii luomaan yhteisöllisyyttä ja yhteisöä kaikkein afrikkalaisten välillä asuinpaikasta riippumatta. Biennaalin tärkeä tehtävä on myös herättää keskustelua afrikkalaisuudesta, kolonialismin historian vaikutuksista, ideologioista ja nykyisen Afrikan mahdollisuuksista. Tutkimukseni keskittyy siihen, millaista -
The Club of Ports Friends
THE CLUB OF PORTS FRIENDS Mr. Jean-Louis Osso Mr. Peder Sondergaard Mr. Alberto Bengue Chairman of the Board CEO Africa/Middle-East Administrator Autonomous Port of Pointe-Noire APM Terminals Port of Luanda, Angola Congo Mr. Pottengal Mukundan Mrs. Mariam Aweis Jama Mr. Youssef Imghi Director Minister of Ports & Marine Director General International Maritime Bureau Transports, Somalia Tanger Med Engineering, Morocco Mr. Arjuna Ranatunga Mr. Ahmed Bin Ali Al Mohannadi Mr. Peter Brady Minister of Ports & Shipping Director General Director General Sri Lanka General Authority of Customs Maritime Authority, Jamaica Qatar Mr. Dakuku Peterside Mr. Paul Graaf Mr. Pierre Reteno Ndiaye Director General & CEO Director Europe, Middle East Chairman Nigerian Maritime Administration Office des Ports et Rades and Africa & Safety Agency Lloyd’s Register du Gabon Mr. Hanounaye Gounoko Mrs. Aicha Dabar Guelleh Mr. Omran Radhi Thani President MP & Chairperson Committee on General Director National Port Authority Foreign Affairs, National National Port Authority Cameroon Assembly, Djibouti Iraq Mr. Mircea Ciopraga Mr. Stefaan Depypere Mr. Alhaji Worroh Jalloh Secretary General, Transport Director Executive Director, Sierra Corridor Europe-Caucasus-Asia DG Maritime Affairs & Fisheries Leone Maritime Intergovernmental Commission European Commission Administration Mr. Thomas Schmid Mr. Gichiri Ndua Mr. Jianhua Zhong Special Representative for African Director Africa Managing Director Affairs Ministry of Foreign Affairs Airbus Defense & Space Kenya Ports Authority P.R.China (EADS) Mr. Walter Semianiw Mrs. Fatoumata Cisse Mr. Silvio Ferrando Commander of Canada Command Director General International Business Manager Ministry of National Defence, Canada Société Navale Guinéenne Port Authority of Genoa, Italy Mr. Gordan Grlic-Radman Mr. Serge Marigliano Mrs. -
Soly Cissé Born 1969 in Senegal Lives and Works in Dakar, Senegal
Soly Cissé Born 1969 in Senegal Lives and works in Dakar, Senegal Soly Cissé is a mixed media painter and sculptor from Dakar, and is one of Senegal’s most celebrated artists. As a child, Cissé enjoyed drawing on the radiology that his father, a radiologist, brought home. Today, he is still fascinated by transparencies, light imposed on darkness, the essence of colours. When he paints, his brush reveals a scene, brings light to a story, and frees the characters trapped in the black background. Cissé’s artworks are profoundly inspired by and contextualized through his upbringing. He grew up during an epoch of transition, following Senegal’s period of social and political unrest, where art served as mode of social activism and self-expression for the disenfranchised persons. His work, like a portal where the imagined and physical realms convene, intuitively explores notions of duality and repetition; tradition and modernity, the spiritual and the secular. Soly refuses to imitate and abhors illustration. His work gives birth to a new world, populated by creatures neither completely human, neither completely animal nor completely legendary. Cissé’s spontaneous painterly movements, textured accents and neo-expressionistic techniques form depictions reflective of the dissolution of society’s moral thresholds, shifts attributable to globalization and modernization. Shapeless human characters distort into anthropomorphic shadows of the other self; identities lost in translation from the past to the contemporary and abstract lines and bold strokes -
Progress Towards Regional Integration in West Africa
ECA-WA 2015 An assessment of progress towards regional integration in the ECOWAS Sub-Regional Office Economic Community for West Africa of West African States ECA-WA/NREC/2015/03 Original text: French AN ASSESSMENT OF PROGRESS TOWARDS REGIONAL INTEGRATION IN THE ECONOMIC COMMUNITY OF WEST AFRICAN STATES SINCE ITS INCEPTION MAY 2015 1 ECA-WA 2015 An assessment of progress towards regional integration in the ECOWAS CONTENT LIST OF TABLES ................................................................................................................................................ 5 LIST OF CHARTS ........................................................................................................................ 6 LIST OF BOXES ........................................................................................................................... 6 ACRONYMS AND ABBREVIATIONS............................................................................................ 7 ACKNOWLEDGEMENTS ........................................................................................................... 10 FOREWORD .............................................................................................................................. 11 EXECUTIVE SUMMARY ............................................................................................................ 14 INTRODUCTION ....................................................................................................................... 19 I. RATIONALE FOR REGIONAL INTEGRATION IN