{"id":847,"date":"2020-12-26T07:35:39","date_gmt":"2020-12-26T07:35:39","guid":{"rendered":"https:\/\/www.africa-press.com\/congo-kinshasa\/?p=847"},"modified":"2020-12-26T04:56:55","modified_gmt":"2020-12-26T04:56:55","slug":"quand-les-artistes-sammy-baloji-et-kapwani-kiwanga-interrogent-les-societes-post-coloniales","status":"publish","type":"post","link":"https:\/\/www.africa-press.net\/congo-kinshasa\/culture-et-art\/quand-les-artistes-sammy-baloji-et-kapwani-kiwanga-interrogent-les-societes-post-coloniales","title":{"rendered":"Quand les artistes Sammy Baloji et Kapwani Kiwanga interrogent les soci\u00e9t\u00e9s post-coloniales"},"content":{"rendered":"<p><span style=\"color: #ff6600\"><strong><a href=\"https:\/\/www.africa-press.com\">Africa-Press<\/a> &#8211; <a href=\"https:\/\/www.africa-press.com\/congo-kinshasa\">Congo Kinshasa<\/a>. <\/strong><\/span>Commande d\u2019\u0153uvres pour l\u2019un, prix Marcel-Duchamp pour l\u2019autre, deux artistes diss\u00e9quant le pass\u00e9 colonial de l\u2019Europe sont mis \u00e0 l\u2019honneur en France \u00e0 l\u2019aube de la Saison Africa 2020.<\/p>\n<p>Deux noms : Kapwani Kiwanga et Sammy Baloji. Deux artistes majeurs de la sc\u00e8ne contemporaine, deux plasticiens travaillant sur les colonisations et la persistance de l\u2019histoire coloniale dans le pr\u00e9sent, deux cr\u00e9ateurs honor\u00e9s aujourd\u2019hui en France.<\/p>\n<p>La premi\u00e8re, Kapwani Kiwanga (42 ans), vient de recevoir le prestigieux prix Marcel-Duchamp au Centre Pompidou pour son installation Flowers from Africa. En 2018, elle avait d\u00e9j\u00e0 \u00e9t\u00e9 honor\u00e9e par le Prix artistique Sobey et par le Frieze Artist Award de New York. Anthropologue de formation, dipl\u00f4m\u00e9e de l\u2019Universit\u00e9 McGill de Montr\u00e9al, l\u2019artiste franco-canadienne aux origines tanzaniennes s\u2019est install\u00e9e dans l\u2019Hexagone en 2005. Son travail questionne essentiellement les soci\u00e9t\u00e9s post-coloniales.<\/p>\n<p>Avec Afrogalactica, elle s\u2019\u00e9tait pr\u00e9sent\u00e9e telle une conf\u00e9renci\u00e8re venue du futur pour raconter les \u00c9tats-Unis d\u2019Afrique, cr\u00e9\u00e9s en 2058, nourrissant son travail de r\u00e9f\u00e9rences \u00e0 l\u2019afrofuturisme comme au penseur martiniquais de la d\u00e9colonisation, Frantz Fanon.<\/p>\n<p>Avec Maji Maji, elle s\u2019\u00e9tait int\u00e9ress\u00e9e \u00e0 la r\u00e9bellion des Maji-Maji contre l\u2019occupation coloniale allemande entre 1905 et 1907, au cours de laquelle Kinjikitile Ngwale, connu sous le nom de Bokero, distribua \u00e0 ses adeptes de l\u2019eau cens\u00e9e les prot\u00e9ger des balles.<\/p>\n<p>Kapwani Kiwanga s\u2019inspire d\u2019archives iconographiques des c\u00e9r\u00e9monies d\u2019ind\u00e9pendance pour recr\u00e9er des compositions florales utilis\u00e9es \u00e0 l\u2019\u00e9poque. \u00a9 PMD_CentrePOmpidou_BertrandPrevost (29)<\/p>\n<p><b>Flowers for Africa,<\/b><\/p>\n<p>qui lui vaut aujourd\u2019hui une reconnaissance internationale, \u00e9tait pr\u00e9sent\u00e9e en f\u00e9vrier 2020 au Macaal (Marrakech), dans l\u2019exposition Have You Seen a Horizon Lately, sous le commissariat de Marie-Ann Yemsi \u2013 juste avant le confinement. Ces bouquets de fleurs destin\u00e9s \u00e0 se faner racontent en un raccourci saisissant une bien longue histoire. Pour ce travail au long cours entam\u00e9 en 2013 lors d\u2019une r\u00e9sidence \u00e0 Dakar (S\u00e9n\u00e9gal), Kapwani Kiwanga s\u2019inspire en effet d\u2019archives iconographiques des c\u00e9r\u00e9monies d\u2019ind\u00e9pendance afin de recr\u00e9er des compositions florales utilis\u00e9es \u00e0 l\u2019\u00e9poque\u2026<\/p>\n<p>Avec ses jeux de mots entre l\u2019anglais et le fran\u00e7ais (\u00ab Still Life \u00bb signifie \u00ab nature morte \u00bb), l\u2019\u0153uvre rend certes hommage aux luttes pour l\u2019ind\u00e9pendance, mais \u00ab avec ces compositions : comme soumises aux vicissitudes du temps, l\u2019artiste nous invite \u00e0 porter un nouveau regard sur ces moments d\u2019accession \u00e0 la souverainet\u00e9, remplis d\u2019espoir et d\u2019enthousiasme, qui avec le temps se sont fan\u00e9s \u00bb.<\/p>\n<p>Comment raconter l\u2019histoire ? Comment interpr\u00e9ter l\u2019archive ? Autant de questions qui irriguent aussi le travail du Congolais Sammy Baloji, originaire de Lubumbashi o\u00f9 il est n\u00e9 en 1978. Longtemps connu comme photographe, il a approfondi sa pratique et son travail de plasticien enracin\u00e9 dans le pass\u00e9 de la RD Congo explore toutes les strates de la domination coloniale, notamment \u00e9conomique, jusqu\u2019au pr\u00e9sent. La R\u00e9union des mus\u00e9es nationaux\u2013Grand Palais (RMN-GP), associ\u00e9e \u00e0 la Saison Africa 2020, l\u2019ont invit\u00e9 \u00e0 concevoir deux sculptures pour les socles de la fa\u00e7ade du Grand Palais, \u00e0 Paris, du c\u00f4t\u00e9 de la station de m\u00e9tro Champs-\u00c9lys\u00e9es-Cl\u00e9menceau.<\/p>\n<p>En r\u00e9ponse, l\u2019artiste a r\u00e9alis\u00e9 deux instruments de musique en cuivre, un sousaphone et un cor d\u2019harmonie, qui renvoient aux instruments abandonn\u00e9s en Louisiane au XIXe si\u00e8cle, lors de la d\u00e9faite du corps exp\u00e9ditionnaire fran\u00e7ais. Instruments qui furent ensuite r\u00e9cup\u00e9r\u00e9s par les esclaves et utilis\u00e9s dans les fanfares (\u00ab Brass Bands \u00bb). D\u2019o\u00f9 le nom de l\u2019\u0153uvre : \u00ab Johari \u2013 Brass Band \u00bb.<\/p>\n<p>Instruments scarifi\u00e9s Deux sculptures du Congolais Sammy Baloji ornent la fa\u00e7ade du Grand Palais situ\u00e9e du c\u00f4t\u00e9 de la station de m\u00e9tro Champs-\u00c9lys\u00e9es-Cl\u00e9menceau, \u00e0 Paris. \u00a9 Didier Plowy pour la RMN-GP<\/p>\n<p>L\u2019utilisation du cuivre n\u2019est \u00e9videmment pas un hasard, puisque ce m\u00e9tal abondant dans le sous-sol congolais est \u00e0 l\u2019origine d\u2019une exploitation \u00e9hont\u00e9e du pays et de sa main-d\u2019\u0153uvre par des multinationales rapaces et des \u00e9lites souvent corrompues, et ce depuis 1885. Sammy Baloji a scarifi\u00e9 le cuivre de ces instruments en r\u00e9f\u00e9rence aux pratiques anciennes \u00e9radiqu\u00e9es par la pr\u00e9sence coloniale, et il les a dispos\u00e9s dans des structures m\u00e9talliques reprenant la forme de minerais du Katanga. Les instruments semblent ainsi emprisonn\u00e9s dans des cages de m\u00e9tal. Un geste fort de sens qui prolonge ses travaux pr\u00e9c\u00e9dents.<\/p>\n<p>\u00ab Tout part d\u2019anciennes photos d\u2019archives utilis\u00e9es pour des classifications ethnographiques qui viennent des collections du Mus\u00e9e royal de l\u2019Afrique centrale de Tervueren \u00bb, expliquait Baloji lors d\u2019une pr\u00e9c\u00e9dente exposition o\u00f9 les scarifications jouaient d\u00e9j\u00e0 un r\u00f4le. On retrouve dans ce travail la recherche polys\u00e9mique propre \u00e0 l\u2019\u0153uvre de Baloji, et une r\u00e9f\u00e9rence \u00e0 ce qui est connu, \u00e0 ce qui est cach\u00e9, \u00e0 ce qui demeure dans l\u2019ombre mais influence le visible.<\/p>\n<p>Sammy Baloji est originaire de Lubumbashi o\u00f9 il est n\u00e9 en 1978. \u00a9 Sophie Nuyttenlas miche Le terme Johari fait ainsi r\u00e9f\u00e9rence \u00e0 la \u00ab fen\u00eatre de Johari \u00bb qui sert \u00e0 classer les diff\u00e9rentes informations accessibles, ou pas, \u00e0 une personne. Fort d\u2019une riche actualit\u00e9, Sammy Baloji pr\u00e9sente actuellement \u00e0 la galerie Imane Far\u00e8s l\u2019exposition Kasala: The Slaughterhouse of Dreams or the First Human, Bende\u2019s Error, jusqu\u2019au 14 novembre.<\/p>\n<p>La cons\u00e9cration simultan\u00e9e de ces deux artistes pourrait appara\u00eetre comme un simple hasard, mais peut-\u00eatre s\u2019agit-il d\u2019un peu plus que cela. D\u00e9bat sur les restitutions, organisation d\u2019une saison consacr\u00e9e \u00e0 l\u2019Afrique, multiplication des publications et des expositions consacr\u00e9es \u00e0 la p\u00e9riode coloniale : plus que ses voisins, la France se penche sur son pass\u00e9 et accepte peu \u00e0 peu de le regarder en face.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Africa-Press &#8211; Congo Kinshasa. Commande d\u2019\u0153uvres pour l\u2019un, prix Marcel-Duchamp pour l\u2019autre, deux artistes diss\u00e9quant le pass\u00e9 colonial de l\u2019Europe sont mis \u00e0 l\u2019honneur en France \u00e0 l\u2019aube de la Saison Africa 2020. Deux noms : Kapwani Kiwanga et Sammy Baloji. Deux artistes majeurs de la sc\u00e8ne contemporaine, deux plasticiens travaillant sur les colonisations et [&hellip;]<\/p>\n","protected":false},"author":82,"featured_media":846,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[5,11,10],"tags":[36,47,46],"class_list":["post-847","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-et-art","category-homepage-french","category-toutes-les-actualites","tag-africa-press","tag-africa-press-congo-kinshasa","tag-congo-kinshasa"],"yoast_head":"<!-- This site is optimized with the Yoast SEO Premium plugin v26.1 (Yoast SEO v27.0) - https:\/\/yoast.com\/product\/yoast-seo-premium-wordpress\/ -->\n<title>Quand les artistes Sammy Baloji et Kapwani Kiwanga interrogent les soci\u00e9t\u00e9s post-coloniales - Congo-kinshasa<\/title>\n<meta name=\"description\" content=\"Commande d\u2019\u0153uvres pour l\u2019un, prix 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