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Afro Design and Contemporary Arts

 * QUI SOMMES NOUS ?
 * LIRE LA REVUE
 * SOUTENIR
 * AFRIKADAA'S EVENTS
 * SPACERADIOSTATION






DAKARMORPHOSE @ RAW MATERIAL COMPANY





L’histoire de Dakar appartient à un passé relativement récent. La construction
de la ville s’est faite à partir 19ème siècle en se greffant sur un
environnement urbain ou les lébouS, présent sur la presqu’ile depuis le 15ème
siècle vivaient selon leurs traditions culturelles et spatiales. Les vestiges de
ces structures urbaines traditionnelles sont appellées « Penc », s’élèvent au
nombre de 12 entre le plateau et la Medina.

DAKARMORPHOSE est une restitution spatiale, historique et culturelle des 12 Penc
de Dakar. L’exposition, qui s’est tenue du 5 au 15 dernier dans au penc de Mbott
dans le cadre de la 13ème édition de la biennale, proposait au public de
retracer la genèse des pencs dans la ville de Dakar qui s’est métamorphosée au
fil du temps tout en gardant des traces d’urbanité dans ces lieux, à
l’organisation socio-spatiale unique, qui sont encore au cœur de l’identité de
la communauté Lebou.

Ce vendredi 8 juin 2018 sur invitation de RAW MATERIAL COMPANY, Carole Diop et
Nzinga Mboup, conceptrice du projet, reviendront sur cette exposition dans le
cadre de CITEOLOGIE, une réflexion sur l'espace urbain africain contemporain à
travers le prisme des politiques architecturales et urbanistiques. CITÉOLOGIES,
initié par RAW MATERIAL COMPANY en colaboration avec Carole Diop, est un volet
du programme de débats publics hebdomadaires les vendredis @RAW.



CITEOLOGIE : DAKARMORPHOSE - Vendredi 8 juin 2018 à 17h30 à la Zone B, rue sans
soleil, Villa N°2B. 


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VIVE L’INDÉPENDANCE DE L’EAU: A CALL TO POLITICAL AESTHETICS?






“Water always finds its way”

-->
Senegalese proverb


The prolific artist Kader Attia organized, ten days ago, an intense and
collaborative two-day reflection on the political imaginaries, social structures
and aesthetic distribution of water. This event took place at the University of
Cheikh Anta Diop located in the peninsula of Dakar, Senegal and was inscribed in
the frame of the SharjahBiennial 13. Kader Attia who grew up between Alger and
the suburbs of Paris, that is to say crossing the Mediterranean constantly;
notes that his artistic practice and overall intellectual quest focuses upon the
notion of repair, “any system of life is an infinite process of repair”. He
circumscribes ideas of repair in “exploring the wide-ranging repercussions of
Western modern cultural hegemony and colonialism on non-Western cultures”. I
read “Vive l’independence de l’eau” as a successful attempt in the promotion of
bringing together non-normalized knowledge and artistic research to discuss
current situations and strategies to understand water and human behaviors.







The name of this event suggests a celebration; however, this celebration
immediately turns ironic given the current global situation and the water
scarcity that afflicts a vast section of the world’s population; as well as the
colossal water pollution schemes promoted by contemporary urban and rural
structures. A call to celebrate and reflect upon the ontology of water is an
important remark in nowadays fluid societal systems; to reflect it from the
knowledge that lays within magic, music, dance, architecture, urban planning,
poetry, proverbs and images turns itself immediately into a political statement.
What are artists intended to do nowadays if not making a call to non-knowledge
to discuss the most pressing global issue inside African institutions?


I will not rename all of the participants of this celebration, below you will
find a link with that information. However, I would like to highlight the
moments and ideas that caught my attention. The fact that most of the
participants reflected upon the agency of water, of its potency and ontology. We
live in a world in which Bruno Latour, together with other thinkers of the
Actor-Network Theory (ANT), already posed the idea of the actants, that is to
say the recognition of the capacity of nonhumans to participate and act within
systems. In that sense, architect and researcher Samia Rab, made a deep analysis
on the port city of Sharjah and stressed the fact that “water always finds her
way back”, she even suggested to think upon private typologies to create public
spaces, taking into account the Islamic right of thirst. Her research has
focused on how port cities have historically related to water and how this
already-acquired knowledge can be implemented or rethought in other cities.





While listening to many of the expositions by the participants I could not help
but to think on the philosophers’ Gilles Deleuze and Félix Guattari remarkable
work, their distinction between smooth space (water, desert, jungle) from
striated space (land that can be pinned down, marked, structured into fixed
borders). Water is the smooth space per excellence; its ontological fluidity
jeopardizes the idea of fixed identities, of borders. Also the work from the
historian Ferdnand Braudel came to mind with his masterpiece The Mediterranean
and the Mediterranean World in the Age of Philip II which understands the sea as
the main historical actor. In this book Braudel states that “the question of
boundaries is the first to be encountered; from it all others flow."


The Algerian philosopher Seloua Luste Boulbina, participant at the event,
suggested a maritime philosophy that would allow for mobility and
transformation. She called upon the beautiful words of Gaston Bachelard: “L’eau
est vraiment l’élément transitoire. Il est la métamorphose ontologique
essentielle entre le feu et la terre. L’être voué à l’eau est un être en
vertige. Il meurt à chaque minute, sans cesse quelque chose de sa substance
s’écroule.” The subaquatic world is also the world of mystery and chimeras.
 


The professor Ibrahima Sow, founder and director of the Laboratoire de
l’Imaginaire at the UCAD, brought magic and symbolic thought to the discussion.
Together with seer Soya Sow the art of divination, the logic of the imaginary
and different frames of reality were mysteriously framed. For the Islamic art of
divination, the matter is already in the future waiting to be shown. “The deeper
the water the clearer the mirror”.



I will not be fair to everything that was shared during this event: the powerful
performance by the beautiful women singers from a Serer Village in Senegal; the
words from poet Rachida Madani, the splendid work from architect Yasmine Terki
to conserve and promote earthen architecture in Algeria, the films by Marcel
Dinahet which were recorded from the water turning our cities into phantom or
distorted spaces, the call upon money liquidity and debt neo-colonial structures
framed in Hito Steyerl’s Liquid Inc., the teachings of Haidar El Ali to restore
the mangroves in southern Senegal and the magical re-enactment art piece of
Christoph Keller, who re-fabricated the machine devised by Wilchem Reich to
provoke rain. All of the participants during Vive l’independence de l’eau proved
yet another Senegalese proverb: “there is water in everything”.








--> Link with information from the participants and the event:
http://sharjahart.org/sharjah-art-foundation/projects/vive-lindependance-de-leau


Texte And Photo By Frida Robles 


Frida Robles Ponce


Frida Robles is an essayist-artist; she observes the traces that people leave in
public spaces and then diffracts it back into the same space. She does this
through text, performance, images and moving pictures. For example: in order to
learn more about love, Robles went into a public square in Mexico City and
listened to people’s love stories, channeled their emotions and translated them
into love letters.

Frida is also a fellow of the 1st session of RAW Academy



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