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 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 Iolanda Pensa (nom complet Maria Iolanda Isabella Pensa), La Biennale de Dakar comme projet de coopération et de développement, thèse de doctorat en Anthropologie sociale et ethnologie et en Governo e progettazione del territorio, Ecole des Hautes Etudes en Sciences Sociales en cotutelle avec Politecnico di Milano, Dipartimento di Architettura e Pianificazione, 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. CC by-sa The Biennale de Dakar as a project of cooperation and development The study observes the international art system from Dak’Art, the Senegalese contemporary African art biennale; in particular it explores the relationship between visual arts, spatial dynamics, cultural policies and the market; it is based on the keywords cooperation, development, territory and representation. The research analyses the international phenomena of biennial exhibitions, the ones in Africa, the history of the Dakar biennale, contemporary art and its landscape, contemporary African art historiography, the network of Dak’Art and the way contemporary productions are structured as “projects”. It appears clearly that culture is more and more often structured as “projects”; contemporary African art is a brand for the import-export of cultural goods; the network is the central resource of a cultural event and the wider and the more fragmented this network is, the more difficult it is to satisfy it; the geography of cultural events is defined by its international links; cultural events generate landscapes, a combination and interrelation of natural and human factors. The contemporary art system observed from the biennial art exhibition of Dakar appears strongly influenced by the funding organizations, and closely related to cultural policies and to the market, even though it doesn’t necessarily imply the selling of artworks within a gallery.

1. 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

2. Internet Map, ChrisHarrison.net

3. Iman Issa, Going Places : A Project for Public Busses, Le Caire, 2003-2004. Courtesy Iman Issa et Brian Wood

4. I.

5. II.
Biennale du Caire
Dak’Art
SUD Salon Urbain de Douala
Triennale de Luanda
CAPE Not Another Biennale
Biennale de Cape Town
Rafal B. Niemojewski, Global Positions of Biennals, 1989-2005 in The Manifesta Decade, MIT Press, 2005, p. 20

6. II.
III.
1990 1992 1996 1998 2000 2002 2004 2006 2008 2010 2012

7. IV.
Hala ElKoussy, (Re)Constructione #2, 2003. photo 70x100cm

8. V.
Meanwhile in Africa..., Nuremberg, 2005

9. VI.
Basim Magdy, Superman Will Save Us All, Le Caire, 2002, postcard

10. VII.
Marcela Moraga, When I was of Colour, Cuba, 2001, photo PVC 200x150cm. Cairo International Biennale 2001

11. Iman Issa, Going Places : A Project for Public Busses, Le Caire, 2003-2004. Courtesy Iman Issa et Brian Wood

12. 1.

13. Biennial Foundation, Biennial Map, 2010

14. Iolanda Pensa e Stefano Baseggio, Dakar, 2007

15. CAPE Not Another Biennale

16. Triennale de Luanda

17. SUD Salon Urbain de Douala 2010

18. Marie-Françoise Plissart, Kinshasa. Courtesy Biennale dell’architettura di Venezia 2004, Padiglione Belgio

19. Ismail Farouk et Babak Fakhamzadeh, sowetouprising.com, Johannesburg, 2006

20. Ismail Farouk et Babak Fakhamzadeh, sowetouprising.com, Johannesburg, 2006

21. Ba

23. Chimurenga Library, Network, 2008

24. Steve Jurvetson, Internet Splat Map, 2004. jurvetson/flickr, CC-BY

25. Rasheed Araeen, Mediterraneo, 2005

28. Basim Magdy, Superman Will Save Us All in Going Places : A Project for Public Busses, Le Caire, 2003-2004

29. Help and global relief for the Katrina disaster. US pavillion, Biennale dell'architettura di Venezia, 2004

30. Organisation internationale de la Francophonie, Implantations dans le monde, site internet, 2010

31. Pro Helvetia, website, still 2008

32. Ford Foundation, website, still 2009

33. CulturesFrance (avec Labiomatic) Identité visuelle, projet non retenu, 2006

34. Mounir Fatmi, G8 Les balais, 2004, installation

35. Tsesler et Voichenko, Welcome, Minsk, Road sign

36. 2.
Meanwhile in Africa..., Nuremberg, 2005

38. Africa Remix, 2005, p. 82

39. Africalia logo

40. Ingrid Mwangi, Static Drift, 2001. Courtesy Looking Both Ways, 2004-2006

41. Daddy Buy me a Pony, Festive season greeting card client Pro helvetia, Décembre 2003

42. Goddy Leye, We are the World, 2006.Vidéo in Meanwhile in Africa..., Berlin, 2006

43. Bettino Craxi, In the World (3) in Sempter Aliquid Novi Ex-Africa : Opere di Bettino Craxi (cat. expo), Edizione Di là dal fiume e tra gli alberi, Brescia, 1992, p. 88

44. mappa sistema dell’arte africano

45. 3.
Marcela Moraga, When I was of Colour, Cuba, 2001, photo PVC 200x150cm. Cairo International Biennale 2001

46. Ed Westcott / US Army / Control panels and operators for calutrons at the Y-12 Plant in Oak Ridge,Tennessee during the Manhattan Project, Wikimedia Commons, pd.

47. Projet
Objectifs Activités Résultats

48. Projet
Objectifs Activités Résultats
Résoudre les Calendrier Bénéficiaires et
problèmes Budget évaluation

49. Tsesler et Voichenko, Minsk, 2002, object

50. Lara Baladi, Sandouk el dounia (The world in a box), 2001

51. Sandrine Dole, Sans titre, 2003, photographie

52. Tsesler et Voichenko, Tank, Minsk, 2002, object

53. Jeff Wall, Invisible Man, 2001. Cibachrome transparency, aluminium light box, 240x320 cm. Courtesy Documenta, Kassel, 2002

54. Alfredo Jaar, Muxima, 2005, still video 36'. Courtesy Check List Luanda Pop, Biennale di Venezia 2007

55. Jane Alexander, Courtesy Africa Screams,Vienna, 2004

56. Minnette Vari. Oracle, still video animation 2', 1999. Courtesy Biennale di Venezia, 2001

57. Rossella Biscotti (1978) et Kevin van Braak (1975), New Crossroads, New Crossroads Cape Town, 2006, video 23'