{"id":343,"date":"2013-07-29T15:35:25","date_gmt":"2013-07-29T14:35:25","guid":{"rendered":"https:\/\/www.lepeuplequimanque.org\/histoires-afropolitaines-de-l%e2%80%99art-multitudes-n%c2%b053-54.html"},"modified":"2023-11-08T17:40:11","modified_gmt":"2023-11-08T16:40:11","slug":"histoires-afropolitaines-multitudes-53-54","status":"publish","type":"post","link":"https:\/\/www.lepeuplequimanque.org\/en\/2013\/histoires-afropolitaines-multitudes-53-54\/","title":{"rendered":"Afropolitan art histories – Multitudes n\u00b053-54"},"content":{"rendered":"[vc_row type=”in_container” full_screen_row_position=”middle” column_margin=”default” column_direction=”default” column_direction_tablet=”default” column_direction_phone=”default” scene_position=”center” text_color=”dark” text_align=”left” row_border_radius=”none” row_border_radius_applies=”bg” overflow=”visible” overlay_strength=”0.3″ gradient_direction=”left_to_right” shape_divider_position=”bottom” bg_image_animation=”none”][vc_column column_padding=”no-extra-padding” column_padding_tablet=”inherit” column_padding_phone=”inherit” column_padding_position=”all” column_element_direction_desktop=”default” column_element_spacing=”default” desktop_text_alignment=”default” tablet_text_alignment=”default” phone_text_alignment=”default” background_color_opacity=”1″ background_hover_color_opacity=”1″ column_backdrop_filter=”none” column_shadow=”none” column_border_radius=”none” column_link_target=”_self” column_position=”default” gradient_direction=”left_to_right” overlay_strength=”0.3″ width=”1\/1″ tablet_width_inherit=”default” animation_type=”default” bg_image_animation=”none” border_type=”simple” column_border_width=”none” column_border_style=”solid”][vc_column_text]\n

Afropolitan art histories<\/h1>\n[\/vc_column_text][vc_column_text]\n
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Double issue 53-54 of the Revue Multitudes Majeure – Histoires afropolitaines de l’art
\nFor the autumn 2013 season, Multitudes magazine is offering a special double issue that combines paper format (n\u00b053) and digital extensions (n\u00b054), geopolitics and art history.
\nTexts selected and edited by Kantuta Quir\u00f3s and Aliocha Imhoff
\n\u00c9ditions Inculte, February 2014<\/p>\n<\/div>\n

\"Butcher<\/a>

Butcher Boys 1985-1986 (detail 2) \u00a9 Jane Alexander photographie Svea Josephy, courtesy de l\u2019artiste<\/p><\/div>\n

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\"\"<\/a>Since the late 1980s, the internationalization of cultural exchange has been shaping a new global cultural geography. In the form of what has been called a new internationalism (as formulated at the Venice Biennale in 1990), the long-neglected extra-Western art scene has been taken into account by major Western museum institutions, along with a revision of their historiographical narratives. Against this backdrop, recognition of contemporary artists of African origin has grown on the global art scene (museums, large panoramic regional exhibitions, private collections, foundations, biennales, fairs). Nevertheless, it has often been cut off, particularly in France, from the reception and translation of discursive resources and theoretical thoughts on art from Africa. This first part of a series of translations focuses on the emergence, in the 1990s, of a “new African discourse on art”, led by a generation of curators, art historians and theorists, who developed discursive platforms with a strong critical value and chose, first and foremost, to reassess African artistic modernities. Its discourse on art is rooted in a rejection of “authenticity” and “nativism”, and a project to de-essentialize Africa. Africa, as a “geoesthetic region”, has been rethought from a paradigm of mobility (of populations and cultural flows), theorized more recently by Cameroonian thinker Achille Mbemb\u00e9, based on the concept of “afropolitanism”, envisaged as a stylistics, an aesthetics and a certain poetics of the world. Consisting of original contributions as well as translations of some of the most important texts published over the last twenty years, this issue discusses the function of art criticism and historiographical discourses on art in Africa, the politics of representation, the rereading of African modernities and discussions around the categories of authenticity, diaspora, Afropolitanism or post-black art for thinking about modern and contemporary African art, as well as monographic studies and an interview dedicated to the educational turn of new curatorial initiatives in Africa.<\/div>\n

Kantuta Quiros & Aliocha Imhoff<\/p>\n

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SAVE THE DATE<\/strong>
\nPresentation of issue 53-54 and its major on Saturday, October 19, 2013 – from 6pm Galerie Dufay-Bonnet<\/a>, in the exceptional presence of John Peffer (Ramapo College, New Jersey, USA). Cit\u00e9 Artisanale, 63 rue Daguerre – 75014 Paris<\/p>\n

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